Little Women(2019)

Tags

2010's, Bob Odenkirk, Chris Cooper, Coming-of-Age, Drama, Eliza Scanlen, Emma Watson, Florence Pugh, Greta Gerwig, James Norton, Laura Dern, Little Women, Meryl Streep, Saoirse Ronan, Timothée Chalamet, Tracy Letts

Greta Gerwig brings the classic novel of Louisa May Alcott to life with her interpretation of Little Women. It emerges as a charming, moving and lively portrait of young womanhood and family, complete with an inventively structured narrative and simply stellar performances. You have to see this film it’s as simple as that.

In Concord, Massachusetts, the four March sisters; rule abiding beauty Meg( Emma Watson), boisterous aspiring writer Jo( Saoirse Ronan), painfully shy music lover Beth( Eliza Scanlen) and spoiled, petulant madam Amy( Florence Pugh), grow up with their caring Marmee( Laura Dern) while their father( Bob Odenkirk) is away fighting in the American Civil War. Times are tough and the family are forced to make do without luxuries, but with their closeness and spirit they get through it as best as they can with their warm-hearted and rational mother. Life before them doesn’t really offer many opportunities for women, but feisty Jo is willing to smash those limitations with her writing. Though she’s met with skepticism and even doubts herself, her spirited self won’t rest. She befriends along with her sisters Laurie( Timothée Chalamet); a boy who lives nearby and wants adventure. He in turn likes the feeling of family that the March household has as he finds his Grandfather stern and his life dull. He begins to romantically like Jo, but finds it isn’t always easy in love. Meg is concerned with being a demure lady and has her heart set on a husband and family, preferably with money. She discovers that money isn’t everything when she meets a tutor by the name of John Brooke( James Norton) who doesn’t have a penny. While Meg looks on as other ladies grow in wealth, she only occasionally chafes at it when she realises how good her situation is. Awkward but thoroughly kind-hearted Beth is largely confined to the house as she is shy and prefers to busy herself by playing the piano. Mr Laurence( Chris Cooper) sees this and offers the use of his piano, to the delight of the young girl. Amy, who is often vain and belligerent, aspires to be an artist though she either wants to be “great or nothing”.  The girls endure hardship, sickness in the case of Beth’s bout with Scarlet Fever and their eyes being opened to the world, under the eyes of Marmee and traditional maven Aunt March( Meryl Streep), who enjoys lecturing the family she considers disobedient. The narrative weaves back and forward in time to the American Civil War and the years after it, exploring events in the form of recollection and memory.

With Lady Bird, Greta Gerwig announced herself as a talented director. With Little Women, she makes good on her promise to deliver a timeless story with newfound verve and appeal. As previously stated, the choice to shoot the film in a non-linear fashion is an inspired one. Kudos to Gerwig for using it to create an immediacy with the women at the heart of the story. For instance, we are introduced to the sisters separately rather than the traditional all together round the fireplace that’s shown in more traditional versions. I liked seeing them later on and grown up, before cutting back to their childhoods. It creates a vivid contrast, effortlessly displaying the changes in characters and circumstances through being brightly coloured in cinematography for the portions of childhood and more subdued in the adult sections. It’s a gorgeous visual approach that also supplies us with humour, growth and metaphor. It’s a stroke of intelligence and risk to tell such a well known story in this way, but Greta Gerwig clearly understands what she is doing and the results speak successfully for themselves. You’ll laugh, you’ll cry and you’ll love being in the company of these four memorable ladies. 

Her script is natural and free flowing, with the girl often talking over each other in the cosy home sequences which creates a believable bond as sisters. That’s not to say all the dialogue is like this, in fact it’s very pertinent and acute, but I enjoyed the feeling of sisters having their say in their own way. There is a hustle and bustle to their home life, which marks it in contrast to many a film set in another era that usually feel a bit mannered or overly polite. Little Women has gusto and charm as the sisters fight, rub along together and generally form a feeling go camaraderie the age won’t intrude on. It’s become clear that Gerwig is a fan of exploring young womanhood and family, which was seen in Lady Bird and now in Little Women. And how she examines that even though times have changed, there are still in some places limitations placed on women who want to burst through the glass ceiling. Little Women gets that across with zest and a certain modernity, which thankfully doesn’t put the original story in jeopardy but actually adds to the experience. Alexandre Desplat is a masterful choice for composer as is evidenced by his gorgeous score. Making spirited use of piano along with well timed strings, there is a vibrancy to his music that fits the story perfectly. Seriously, the score should definitely be getting awards notice come that season and I sincerely hope it does.

Saoirse Ronan leads the way with another sterling performance. She gets the unkempt energy, boundless enthusiasm and creeping self-doubt vulnerability just right for Jo. Ronan shows that Jo is often at the mercy of herself and her spirited nature, but how she’s trying to find her own place in the world in a time that isn’t exactly keen on it. Ronan is truly alive here and makes the part of Jo her own, which is saying something as it’s a role that’s been played so many times and can be hard to put your own spin on. Thankfully, Saoirse Ronan is up to the task and splendidly pulls it off much to my delight. Florence Pugh, who is having a banner year so far, closes it off with yet another believable and confident performance. She brings out the bratty and vindictive parts of Amy as a child and her shrewd understanding as an adult. The gifted Pugh gets both ages spot on, charting the rise of a girl whose snooty attitude melts as she learns how to survive in society and play the game better than anyone. I enjoyed how fleshed out Amy was in this version, too often she’s relegated to just being the spoiled one. Yet thankfully, with the script and the luminous Florence Pugh injecting smarts, Amy is given a new lease of life. These two actresses are the main standouts and should both expect award notices, but the rest of the cast is not to be sniffed at either as they fill out the cast of characters with care and skill. Emma Watson has the grace and heart of Meg just right, as she occasionally fails against society but finds that happiness is where romance is at. Some say Meg is the passive part and most traditional of the sisters, but I think that with Watson she emerges with some agency. Eliza Scanlen has the sweet face and  sense of humanity about her that suits Beth and doesn’t make her just a saintly figure. She’s one of the driving forces, particularly in her bond with Jo and Scanlen plays to that with great nuance.

Timothée Chalamet, of floppy hair and eyes that express a lot and most effectively sadness, is ideally cast as Laurie, who comes to be like another member of the March family but who is completely love struck by Jo. He’s spirited and gangly, always moving about and his kinetic behaviour and wearing of emotion on his sleeve ensures Chalamet and Ronan once again prove how effective their chemistry is whenever they are together. Mind you, he has great chemistry with all the women, but in particular Ronan and eventually Pugh. Laura Dern has just the right amount of grit and maternal love as one of the guiding forces for the girl, while Chris Cooper is crusty but mellowed as the neighbour who grows to become close to the March family. Stealing her scenes is the always dependable Meryl Streep, who you can tell had a blast playing the opinionated and cutting Aunt March. She’s a lot of fun to watch as this matron who always has to make a point of something, even if it’s insulting. If there’s a tiny flaw, it’s in that both Bob Odenkirk and James Norton are not given a lot to do. Both are accomplished actors so it would have been nice to have seen them show off some of their talent. But aside from that, I don’t have many quibbles with this movie. Tracy Letts is entertaining in his small but memorable role of publisher who is initially dismissive of Jo, but grows quite fond of her as time goes by.

With Greta Gerwig at the helm, Little Women comes to sparkling life and proves that certain stories can still be fresh no matter how many times it’s been adapted. A winning coming of age story that captures the imagination and heart without resorting to sentimentality, I can’t recommend this version of Little Women highly enough for its energy and splendid cast.

Lady Bird

Tags

2010's, Beanie Feldstein, Comedy, Coming-of-Age, Drama, Greta Gerwig, Lady Bird, Laurie Metcalf, Lucas Hedges, Saoirse Ronan, Timothée Chalamet, Tracy Letts

Greta Gerwig makes her solo directing debut with Lady Bird; a funny, sometimes painfully honest but incredibly personal story of a teenage girl coming of age in her senior year of school. Her vision is aided by two sensational performances by Saoirse Ronan and Laurie Metcalf as the mother and daughter at the heart of a tumultuous relationship.

It’s 2002 in Sacramento, California. Here we meet Christine McPherson( Saoirse Ronan), a teenager in her senior year of school. She attends a strict Catholic school, despite the fact her parents are struggling financially. She also goes by the name Lady Bird in an effort to stand out from what she sees as a boring place of no culture or event of note. Her opposition frequently clashes with her hardworking mother Marian( Laurie Metcalf), which results in bust ups throughout the year. Marion is a nurse who works doubles to support the family as her genial husband Larry( Tracy Letts) has been laid off and often tells Lady Bird that she is aspiring for too much. Both are at loggerheads and then fine, followed by more arguing that ebbs and flows. Meanwhile, Lady Bird, who knows she is distinctly average at a lot of things but isn’t short on ambition, has to find her way through the last year of school. which includes taking part in the school play, falling for two different guys in the form of Danny (Lucas Hedges) and sardonic, cool guy Kyle ( Timothée Chalamet), finding trouble with her best friend Julie( Beanie Feldstein) and generally feeling like everyone is somehow against her dreams . At the centre of it all, her relationship with her mother takes twists and turns as they attempt some form of understanding.

While Lady Bird does observe conventions of standard coming of age movies( boys, falling out with friends and rebellion), but there is something in the way that the story is told that makes it feel fresh. The personal undertone that the passionate Gerwig has infused the film with really stands out and captures that awkward time in someone’s life where everything feels like life or death. So while it isn’t an original or full on groundbreaking film, the approach taken and blend of comedy and drama is to be applauded for pulling us in and how it has us laughing one minute and emotional the next. Many scenes illustrate this bit the opening of Lady Bird and her mother going from niceness to bickering in minutes, along with the former throwing herself out of the car so she doesn’t have to listen to disagreement, clearly sums up the kind of film this is. Also, the pink cast Lady Bird wears for most of the film is an apt bit of symbolism that clearly displays our heroine’s desire to be an individual at any cost.

Lady Bird manages to avoid the cloying nature that often saturates a coming of age story to the point of mawkishness and steers clear of being melodramatic. Sure quite a bit happens to the titular character over a year, but it’s shown in such an organic yet warm way that tempers events with seriousness and comedy. I’m a fan of coming of age stories when told with substance and style and Lady Bird owns both of those admirable qualities. There will still be those who will write of Lady Bird as just another teenage comedy drama and not give it a chance. But I think they are really missing out on an often hilarious yet deeply effective evocation of a young girl turning into a woman who wants something out of the world to happen to her. The gold hues of the cinematography, coupled with the use of montage and choice of music, are gorgeously used to create a definite feeling of looking back on memories.

Now on to the acting in this teenage comedy drama and it’s clear to see that it’s one of the best things in Lady Bird’s impressive arsenal. In the lead, the always talented and confident Saoirse Ronan excels stunningly. Those blue peepers and arresting face chart the varying contradictions of Lady Bird as she faces adolescence and how she views it as an existence sent to test her. She’s restless, petulant, dramatic, funny, whacky, caring and acerbic. I’m simply running out of adjectives to describe Ronan here, she is that good at imbuing they part with bite. Ronan makes for a memorably flawed but endearing heroine, even when she’s being unpleasant. It’s the definition of a complete performance that just ticks all the right boxes and Saoirse Ronan owns the role with every fibre of her being. For an actress still so young, I’ve a feeling that she’s becoming one of the finest actresses of her generation and that’s not an exaggeration. Laurie Metcalf superbly supports Ronan with her work portraying a no-nonsense mother who as someone else mentions is as loving as she is frightening. Metcalf supplies the story with a serious undertone but isn’t above humour. Simply stated, she’s remarkable as an opinionated, careworn woman trying to raise a daughter who insists on creating difficulty for her. Ronan and Metcalf are magnetic together; both characters won’t admit it but they do share similarities that they would much rather not. This sets the scene for much drama between them. Beanie Feldstein is an absolute delight as the best friend who is so endearing that you want to give her a hug. The way Feldstein plays her shows that she’s truly alive in her best friend’s company and it’s what gets her through her low self-worth. Tracy Letts is quietly and subtly convincing as the protagonist’s father who is the good cop to his wife’s bad cop. Letts infuses him with a warmth but a big level of sadness as this character is unfortunate but doesn’t make a fuss. He is very moving in his work and his scenes with Saoirse Ronan are a delight. Lucas Hedges and Timothée Chalamet play the two main boys in Lady Bird’s life with energy and awkwardness for the former and scowling but charming rock dude for the latter. I liked both parts from these actors as they had more to them than just the boys the heroine likes, particularly Hedges and his story though Chalamet is no slouch either, far from it in fact. 

Hilarious yet deep, stylish but buttressed by story, Lady Bird is a marvellous solo debut for Greta Gerwig that soars owing to its direction, script and two deservedly Oscar nominated performances at the centre of it.

Knives Out

Tags

2010's, Ana de Armas, Chris Evans, Christopher Plummer, Comedy, Daniel Craig, Don Johnson, Jaeden Martell, Jamie Lee Curtis, Katherine Langford, Knives Out, Lakeith Stanfield, Michael Shannon, Murder Mystery, Noah Segan, Rian Johnson, Toni Collette

A hilarious and thrilling murder mystery, updated to the present and sporting one hell of a talented cast, Knives Out finds Rian Johnson at some of his most skilful and fun.

Harlan Thrombey( Christopher Plummer) is a wealthy but ageing crime author who is celebrating his 85th birthday. His wide, extensive family, of whom most are greedy, are there at his county mansion for the occasion. There is Harlan’s children; gloating businesswoman Linda( Jamie Lee Curtis), uneasy and timid until he has a drink inside him Walt( Michael Shannon) , plus Harlan’s bitchy, self-serving daughter in law Joni( Toni Collette) and her put upon daughter Meg(Katherine Langford). There’s also Linda’s crude husband (Don Johnson), and their man-child brat of a son Ransom( Chris Evans) , plus Walt’s troll child Jacob( Jaeden Martell) who delights in being a nasty young man. Most importantly, Harlan’s nurse Marta( Ana de Armas) is present but treated suspiciously by family when others aren’t looking, though they claim to hold her dear. The next day however, Harlan is discovered with his throat slit, the apparent result of a suicide. Two cops, Detective Lieutenant Elliot (Lakeith Stanfield) and Trooper Wagner( Noah Segan) come to investigate as their soon becomes evidence of foul play afoot. Also on the case, after being mysteriously tipped off about it, is seasoned detective Benoit Blanc( Daniel Craig). He’s an investigator with his own way of doing things that often baffles others but often turns up intriguing possibilities. Sure enough, he sets about investigating and comes to believe that cruel intentions where at work in the demise. Marta, who seems to be the only person who treated Harlan like a human, has a condition where if she tells a lie, she vomits. This immediately puts her as an ally to the side of good or does it as this is one case in which nothing is what it seems? Blanc continues to investigate as the family fights, bickers and basically tears each other apart as they all want a part of the fortune. Marta is the one person who doesn’t seem interested in the money as she valued the companionship and respect she shared with Harlan. What spins out from all this is a most twisty case involving one hell of a dysfunctional family.

Rian Johnson is the man behind the camera and the pen and in both capacities, he doesn’t disappoint with this film. The sharp, scintillating script of cracking one liners and genuine mystery. Rian Johnson is clearly having a blast both paying homage to the murder mystery movies of yesteryear and giving it a contemporary update that is most entertaining. I find it hard to fault when someone is directing and crafting with this level of giddiness and panache. Though it covers many of the genre tropes we know and love, the underlying humour and knowing meta references to all matter of murder mystery TV shows and movies are most welcome and pretty cool to spot. Plus, Knives Out has a brilliant sense of mystery and unease as we try to discover the cause of untimely death for Knives Out truly breathes new life into the genre, and still has time to make comment on immigration, greed and the accountability of family. Thankfully none of this is overbearing or ham fisted, rather it is presented in a manner that flows along with the central mystery and just as entertainingly. Some lulls in the proceedings, (like the film maybe benefiting from a bit of a trim and certain characters not being given much to do) can be forgiven mainly because Knives Out twists and turns us and our expectations. It’s by and large a surprising film that breathlessly speeds along and misdirects you just when you think you’ve got a handle on it’s mystery. It’s a damn fine time that is purely entertaining and keeps you glued. The setting of the house is ace; with the large breadth of the domain and the various ways it is majestically shot with a certain old fashioned flair, really adding to the overall atmosphere of both lightness and darkness but never too overpowering as to detract from the crackerjack script. Plus, I can imagine that upon repeat viewings of Knives Out, you’ll notice something different each time. The music is a scintillating addition, with erratic strings and gorgeous piano conveying the craziness and underlying depth of the piece. Simply sensational is what the score from Nathan Johnson is .

Where Knives Out really hits the jackpot is in the talented cast. Daniel Craig heads up events with a thoroughly hilarious and eccentric turn as the celebrated detective mysteriously on the case. Using a surprising but superb Southern drawl and immensely kooky humour, Craig is having a ball and is one of the big standouts in Knives Out. Seriously, Craig is fantastic here in a role very different from Bond especially in its ability to be sharp as well as flamboyantly tongue in cheek . Matching him with a quiet dignity and decency is Ana de Armas in a role that is a showcase for her considerable talents. With her angelic face, arresting eyes and intelligent authenticity, de Armas is gifted a peach of a role and creates the beating heart of the narrative. Also, she blends areas of mystery within the part that still keep us guessing of her true involvement, though she’s definitely what you’d call the moral centre of Knives Out. I feel like de Armas is an actress of great promise if her work here is anything to go by and I hope she gets more successful roles like this one.

Chris Evans, playing very much against type, relishes being a nasty but hilarious piece of work who provides much in the way of snarky comedy and bratty, entitled antics. He gets some of the most scintillating lines to be found in Knives Out. Toni Collette, who has long been an actress I adore for her versatility, does it again as the vapid, shallow and grasping lifestyle guru who loves to brag about how great her life is. Collette bitches it up as this venal harpy who disguises her nastiness with a coy smile. Also getting some catty one liners and displaying a sense of authority under scrutiny is the ever excellent Jamie Lee Curtis( her comic timing and very sharp-witted presence is sparky and scene-stealing). Michael Shannon also has a lot of presence as the son who feels cit out of the family because of his weaknesses and inability to do things right. We feel some sympathy for the man who feels overlooked in the early scenes when Shannon gets to a level of morality, but Shannon truly comes alive when he’s required to be mercenary and underhand. Don Johnson creates a character of smarmy nastiness and underhand nature, who forms yet another snippet of a viper’s nest that is family.

Unfortunately, Jaeden Martell and Katherine Langford are both saddled with roles that don’t amount to much in the same way the two cops( Lakeith Stanfield and Noah Segan) are largely filler and fail to stand out in an all star cast. But hell, that’s what happens when you have a big ensemble cast to contend with. And none of them are bad, just not utilised effectively. Veteran actor Christopher Plummer, whose very resume is enviable, still shows fantastic talent and fun in the key role of Harlan. We are shown a shrewd, cunning but generous to those who deserved it kind of man. His impact is felt as the story continues following his seemingly untimely demise.

Boasting one cracking ensemble of actors, a director on sizzling form and suspense mingling with laugh out loud comedy, Knives Out is a sly, devilish treat that gives an old genre an upgrade with results that would please the Grande Dame of Murder mystery, Agatha Christie.

Hustlers

Tags

2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

The Handmaid’s Tale Season 3

Tags

2010's, Alexis Bledel, Amanda Brugel, Ann Dowd, Bradley Whitford, Christopher Meloni, Elisabeth Moss, Joseph Fiennes, Madeline Brewer, Max Minghella, O.T. Fagbenle, Samira Wiley, The Handmaid's Tale, The Handmaid’s Tale Season 3, Yvonne Strahovski

Revolution is in the air and while still a dark show, Season 3 of The Handmaid’s Tale boasts a lot more hope than ever before. And this is for the best in a show that is certainly not the easiest watch, but rewarding in terms of acting and story. Be warned, spoilers may follow.

We pick up where Season 2 left off, with June(Elisabeth Moss) having given her newborn daughter to an escaping Emily( Alexis Bledel). She has decided to stay in Gilead to save her other daughter Hannah, who was cruelly taken from her years before. Plus, she’s still got an axe to grind with the horrifying regime that governs what was once America. She briefly returns to the house of slimy Commander Waterford( Joseph Fiennes)and his wife Serena Joy(Yvonne Strahovski), who was the one who handed the baby over to her in the hope that the baby will get a better life in Canada. Serena is starting to chafe at the system and in retaliation burns down her house, possibly setting the stage for her switch of allegiance. She’s in deep morning for her ‘child’ which could easily make her return to her normal cruel self though. June is sent to the home of Commander Lawrence(Bradley Whitford), who helped engineer Emily’s escape but whose true purpose and sense of trust are questionable. June however has her eyes set on rebellion and though some of her actions are questionable, she’s mainly playing the game in order to survive. She attempts to get Serena on side and persuade Fred to let her have a bit more power than women in Gilead have. But can either be trusted? Can Aunt Lydia( Ann Dowd) who begrudgingly seems to admire June’s opposition, be of any help? And can with an ongoing political struggle in sight can June ensure the safety of both her daughters? Plus, a visit from high powered and nasty Commander Winslow(Christopher Meloni) sets the scene for more shocks and horror as she exerts power and Fred craves it. June is somehow caught in the middle that leads to desperate circumstances. Meanwhile, Emily makes it to Canada with the baby and finds Luke( O. T. Fagbenle) and Moira( Samira Wiley), who offer support. Though things get difficult as Luke is having to raise another man’s child and still terrified about whether he’ll see his wife again. Emily is also struggling when she reunited with her wife and son as it’s been so long and they’ve been a part for what seems like eternity. This coincides with June becoming even more reckless and at times selfish, though she’s brought to her senses once more, thanks to Janine( Madeline Brewer) and the other Handmaid’s. This is where she really ramps up her campaign of striking back.

While continuing the story set up in the first two seasons, Season 3 of The Handmaid’s Take feels like something a bit different while still including the DNA that made the show connect with so many in this topical time. Some fans took issue with June’s last minute decision to stay in Gilead and not run to escape. While I can understand the gripes and though it was a surprise, on reflection it made a lot of sense. The thought of Hannah was what kept June going through her hellish ordeal of institutionalised rape and servitude that was punishable by death if not obeyed. I never believed June would just abandon her as she has been so key to the show and June’s voyage to rebellion. And the spirit of rebellion is shot through this season that still retains the starkness and darkness of what we’re used to, but embeds it with a feeling of underlying optimism that it has only hinted at in previous ventures. Don’t be fooled, this show still has its share of brutality, violence and horror and on those levels it delivers. I just couldn’t help but notice the building feeling of something good about to happen and action about to be taken. It’s a slow burner for certain but I like that about this season. It’s dialled back on some of the overriding gloom that perpetuated the first two seasons but not completely forgotten it. Everything is in the deliberate pace that convincingly lays the building bricks of revolution and how it’s going to occur from the inside. Some may find it slow going( there are some spots where a shot of quickness might have worked), but overall the burning feeling and realisation that revolution is nearing is impressively depicted.

The standout episodes are as follows. In ‘Unknown Caller’, the fallout begins when it’s discovered that Luke has Nichole and June is forced to identify her husband. We get June making an emotional phone call under duress to Luke, Serena seeing Nichole one last time and then falling prey to the manipulations of her husband and finally June’s glare to the camera when she realises she’s been stabbed in the back. It’s a rollercoaster of an episode that grips with how it unravels and the surprises of motivations and actions displayed. Following that is the topical ‘Household’ which deals with subjects of children’s rights, political agendas and the nature of possession. Secrets are also unearthed as June travels to Washington D.C.( which has been made over into a dictatorship) and discovers that lover Nick(Max Minghella) was not the man she thought he was and that he can’t help her in her hour of need . Plus, we are shown the horrifying extremes of Gilead as all the Handmaid’s are silenced by three piercings that keep their lips closed. It’s an often unexpected episode backed up by arresting cinematography, amazing set design that captures a world gone mad and excellent storytelling. Plus, in ‘Unfit’, we finally get some backstory on Aunt Lydia before the rise of Gilead. I’ve been waiting to discover the woman behind the brutality and it delivers. She was once a teacher who was dedicated to her young students and wanted the best. She befriended a young wayward woman whose son she taught and tried to help. After taking her advice and trying to seduce the principal, she was left mortified when he rejected her. I think her breaking point was the fact that in her mind she violated her religious beliefs and gave in to temptation. In retaliation and feeling embarrassed, Lydia phoned the social services on the young mother and the child was taken away.

A haunting hour is found in ‘Heroic’ which has June confined to a hospital as punishment for her treatment of a fellow Handmaid who now lies in a coma . The atmosphere is comparable with Kubrick in terms of how clinical and psychological everything looks and feels. It crucially brings June back to her usual self after she lost her way and became selfish and cruel. It’s an undoubtedly disturbing watch but one that starts the wheels of change again after she was at the point of near collapse. And the last few episodes are nothing short of exhilarating as plans are finally put into action and the tension rises. Though the first half of the season is the slow build, the last half is everything getting going and strike back beginning that will change everything. Pay particular attention to the finale ‘Mayday’ which is hands down one of the best episodes of the entire show. Though a show that is tough going, The Handmaid’s Take is gorgeously shot with dark hues but a more prominent brightness than before to reflect the burgeoning fire within June and the others who will help her. The trademark use of shallow focus especially when focusing on June and birds eye view shots of the Handmaid’s in ranks are stellar and cinematic in execution. Fine and often ironic song choices and a chillingly electronic score compliment the aura of eeriness and evinced hope.

Elisabeth Moss continues to excel as our main character. Those eyes and that face once more work miracles with the slightest of movements. She is a masterclass in emotion and revealing how June is both flawed(sometimes dangerously so and close to cracking) and driven by everything she’s experienced. It’s a layered performance that just keeps impressing upon every episode as we watch seething rage, hope, trepidation, questionable choices and bravery commingle . And it’s all down to the dedication with which Moss plays June that we are so enthralled by her presence. Yvonne Strahovski continues to vacillate between sympathetic victim and desperate yet icy madam. She straggles the two considerably and displays that Serena could both be an ally or an enemy to June and her mission. I liked seeing Strahovski expand on Serena and watching her both fight against and embrace Gilead. Complimenting her is the on form Joseph Fiennes who knows how to play a nasty piece of work. Commander Waterford is one of those characters who is completely up themselves so it’s nice to see him start squirming and becoming a little subservient to those higher than him. And watching Fiennes show the emotion of his power slipping away is more than a tad satisfying.

Anne Dowd is once more knocking it out the park as Aunt Lydia, who is explored with depth. The dichotomy of kindness and viciousness is sublimely acted and we never quite know which incarnation we will get. Kudos to Ann Dowd for her complex portrayal of someone following shocking orders and thinking they are doing the right thing in their own warped mind. In Canada, the series regulars are just as impressive, even if they are seen less than the Gilead counterparts. Standing out is Alexis Bledel as the now free Emily, whose adjusting t her new life with a mix of relief and trepidation. You feel immense sympathy for her as she’s now escaped but still has a certain cage in her mind from everything she’s been through. Bledel sells these varying feelings with sincerity and conviction. And although they aren’t as prominent as before, O. T. Fagbenle and Samira Wiley give personality and heart to survivors of the regime, building some form of normality for themselves. By far one of the most interesting characters is Commander Lawrence as he’s pretty inscrutable and Bradley Whitford is a masterful actor taking delight in exploring the contradictions of the part. One moment he’s helpful and rebellious, the next he’s shut off and cruel and that’s what is so fascinating as he could either be ally or enemy. Christopher Meloni brings considerable strength and sliminess as a high powered Commander. There’s something in the way he speaks and moves that immediately intimidating and nasty; Meloni is obviously enjoying being really able to explore a most vile character in detail. She’s been in the background and occasionally been popping into something substantial, but here Amanda Brugel is given more to do as the Martha Rita. Her quiet dignity and immense strength in playing the game that Gilead has started is admirable and I loved seeing her come into her own. Madeline Brewer is again impressive as the vulnerable Janine, who seems to be everyone’s punching bag of late but who still finds a way to muddle through the pain. The main person who isn’t given a lot to do is Max Minghella, who appears in the first half of the season and is then missing. We do learn something interesting about Nick as a character, but I’d like it if he’d been in it a bit more. This is a minor gripe though in a season that’s incredibly well acted.

A far more hopeful but still bruising and stark season that starts slow and builds to a powerful finish, Season 3 of The Handmaid’s Tale is extremely well acted and thought provoking viewing.

Lizzie

Tags

2010's, Chloë Sevigny, Craig William Macneill, Denis O'Hare, Fiona Shaw, Jamey Sheridan, Kim Dickens, Kristen Stewart, Lizzie, Psychological Drama

Inspired by the real life story of Lizzie Borden, who was accused and then acquitted of the murders of her father and stepmother, Lizzie is a tense psychological drama that puts its own spin on what drives someone to commit murder and it’s own turn on whether or not it believes Lizzie was innocent or guilty.

It is 1892 in Fall River, Massachusetts and Lizzie Borden( Chloë Sevigny) is a woman living under the tyrannical eye of her penny pinching father Andrew( Jamey Sheridan). She’s an independent woman who is different from the subservient kind of lady that was expected at the time and one who in subdued but defiant fashion, scoffs at the system around her. Lizzie also experiences violent seizures, which her father believes is a form of attention seeking. She’s not helped by her stepmother Abby( Fiona Shaw), and her sister is Emma( Kim Dickens) sweet but unable to stand up to. Lizzie is locked in a constant war with her father, with the threat of being sent away to an institution always hanging over her. Into the gloomy household comes the innocent Irish maid Bridget( Kristen Stewart). She’s a bit naive, illiterate and just trying to get along in life with what she’s got. takes a sickening liking to her and starts to visit her room nightly so he can sexually abuse her. Bridget is too terrified of losing her job that she doesn’t tell anyone, but Lizzie finds out. She also discovers that her father has been scheming with her nasty uncle John(Denis O’Hare) something dishonest and underhand about inheritance. Both things infuriate Lizzie and her independence in life and further cause tension with her horrible father. Growing closer to Bridget, the two women form a romantic relationship. It proves to be a solace from the grimness of their lives, but soon discovers it.Soon things reach a head for everyone which results in gruesome death and a trial that involves all.

Craig William Macneill ably directs this film with a keen sense for atmosphere and content. His concentration is largely on the accused Lizzie Borden and her fiery independence in the face of restrictive times that were governed by the patriarchy. His. keeps events very on edge, making the slightest of changes or events matter in the grand scheme of things. Macneill employs an almost unbearable level of tension within the confines of a household; eliciting a claustrophobic aura that transfers to the viewer. Unlike other movies about murders that are still debated and explored, Lizzie takes the side of the allegedly murderous Borden and unravels what might have drove her to commit the crimes she was charged with and then acquitted of. It sets off the dark family angle; all stifled emotions and the overarching tyrant of a father desperate to exert control over the largely female household. Lighting is a key element of Lizzie; either blindingly bright in a beautiful manner(for when Lizzie and Bridget find passionate escape from life) or for the most part shadowy and within the confines of an austere home where emotions struggle to stay under wraps. An up close camera that often lingers on faces and events, while occasionally becoming unrestrained, is employed to capture the burning desire to break free that Lizzie has and how both she and are hemmed in by a society that believes it’s already chosen their destiny. There’s nary a wasted shot in the film and that’s down to the and the cinematography of Noah Greenberg, who are very in sync with what they want from this project. The music, with its high peaks of near horror influenced strings and pulses, keeps things on a knife edge as the day of blood beckons.

Chloë Sevigny is a force of nature as the eponymous Lizzie. She bristles with stoic anger and has an unblinking quality that sets the screen alight. Sevigny has long been an actress I’ve admired and she once more provides compelling viewing with a forceful portrayal of a woman trapped in a time that doesn’t fit and slowly taking devastating action against it. In short, Sevigny is magnetic as Lizzie; discovering a smart woman whose bullied and abused but not above fighting back against it, ultimately in brutal fashion. The ever watchable Kristen Stewart, who for me has matured a lot as an actress over the last few years, is equally as compelling as her eventual lover. There’s a quietness to Stewart here that’s none the less intense and waiting to be unleashed, as her green outlook is changed and she finds strength within herself thanks to Lizzie. Both ladies have a palpable chemistry that provides the centre of the narrative and truly the main respite for these two women. Kudos to both Sevigny and Stewart for creating such a believable bond. Jamey Sheridan is ideally cast as the powerful, grasping and completely wretched father, who seems to delight in exerting his male dominance over others. It’s a credit to Sheridan that you feel the revulsion shared by Lizzie and Bridget for this man, as he’s just that get at getting under your skin as a completely snake and fraud. And Denis O’Hare, who is one of the most underrated actors out there, sinks his teeth into the part of the poisonous uncle with malice in every fibre of his being. Fiona Shaw manages to be both seemingly vindictive and alternately switched on to events around her; with just a look, we know exactly what she’s thinking.Kim Dickens isn’t really given much to work with but is pleasant enough in her small role.

A chilling yet eye opening drama with an emphasis on the psychological and fine acting, Lizzie is a fresh spin on the infamous murders that finds its fascination with events behind the scenes and their devastating impact.

 

Yesterday

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2010's, Comedy, Danny Boyle, Drama, Ed Sheeran, Himesh Patel, Joel Fry, Kate McKinnon, Lily James, Music, Richard Curtis, Romance, Yesterday

Danny Boyle directs this warmly engaging tribute to the Beatles and the journey of love in a film that’s inviting without being cloying. Yesterday is the definition of a feel good movie.

Jack Malik(Himesh Patel) is a struggling young man whose passion is singing but whose never had success. He’s beginning to see that it might be the end of the road in Lowestoft as he’s not amounted to much. His best friend and manager Ellie( Lily James) attempts to sway him into not forgoing his dreams as she believes in him. This is coupled with the fact that she is desperately in love with him, though Jack has never noticed it. He is on the verge of giving up when something unusual happens. He’s riding home on his bike one night when a global power cut ensues and coincides with him being hit by a bus. Thankfully, he lives and though injured will recover. But once he comes around, Jack notices one strange fact about the world around him: no one remembers The Beatles. At first, Jack things it’s a bit of a joke but a few searches online reveal that all knowledge of them has been wiped. This in turn has led to other things not being remembered but the big one is the iconic Beatles. Jack starts to sing their music as if it’s his own to bring it the attention it deserves. This backfires as people assume he has written these classic songs and he starts to become successful. Even Ed Sheeran is impressed and his manager Debra(Kate McKinnon), who worships at the altar of greed and business, snaps Jack up. Soon he’s famous for singing these songs, but struggling with his own feelings of guilt that started off  as him trying to be good. Yet just how much longer  can Jack live a lie? And what of his relationship with Ellie, who obviously loves him?

Though it isn’t the first film to come to mind when I think of Danny Boyle’s directing, Yesterday shows him in mellow but touching mood. His eye for detail is very much on show with canted angles to signify the world being upside down for Jack and some pretty groovy transitions. Thinking on it, of late the underdog story has featured in Boyle’s films, only this time there’s a lot more laughs that show the director having fun. It’s aided by a winning script by Richard Curtis that mixes sarcastic humour and life-affirming love. Curtis often features lovable losers in unusual circumstances or being tested and Jack is no exception. The observations of what might have been without The Beatles are both funny and reflective, particularly in the last third where things get somewhat poignant. There’s a what if angle to a lot of Yesterday that’s delightfully daffy yet retains an emotional impact. And there’s a neat little unexpected twist that is very intriguing not to mention surprising. But because I’m a good guy, I shall not spoil it. Yesterday is t perfect and some areas seem overly familiar, but from an overall viewpoint, it’s a very nice experience and one that will leave you smiling.  Hearing the music of The Beatles is always welcome to my ears and hearing them performed with zeal and resonance in Yesterday is splendid. And I can’t not mention the romance of this film, which is tentative at first but eventually blooms as Jack realises just how important and loyal Ellie is to him.

Himesh Patel, who is best known for starring in Eastenders, is superb in the lead role of sympathetic Jack. Though his actions get him in trouble, he’s a character who tries to do the best and Patel brings that out of the part with a combo of subtlety and comedy. I hope to see in more movies as he’s really got potential as an actor. And I can’t forget his singing, which is also worthy for praise. Alongside him is the luscious Lily James, who is steadily becoming a very reliable actress. Her quirky mannerisms, winning smile and downright adorable nature are on full display for a lovely performance. You can’t help but fall in love with Lily James here. Ed Sheeran shows he’s not afraid to parody himself with a tongue in cheek role as a version of himself. I must say he does elicit quite a few laughs. Speaking of laughs, Joel Fry contributes fine humour as Jack’s right hand man whose not the brightest person, but who’s goofy heart is very much in the right place. On the other scale of laughs is Kate McKinnon who is simultaneously a ruthless bitch after money and an unhinged hoot The balancing act is effectively walked by McKinnon who is obviously revelling in being devious.

Capitalising on a strange but impressive premise and directed with skill by Danny Boyle, Yesterday is a charming, thoroughly enjoyable film, enlivened by the music of the Beatles and work of Himesh Patel and Lily James.

Midsommar

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2010's, Ari Aster, Florence Pugh, Horror, Jack Reynor, Midsommar, Psychological Horror, Vilhelm Blomgren, Will Poulter, William Jackson Harper

Ari Aster follows up his creepy and startling debut Hereditary with Midsommar; an ambitious, head-spinning horror that builds to a stocking finale, while supplying tension, tiered meanings and an immensely dedicated performance from Florence Pugh.

Dani( Florence Pugh) is a young woman who’s just experienced a gut-wrenching trauma. Her bipolar sister committed suicide via inhaling carbon monoxide and killing her parents as well. Broken by this, Dani turns to boyfriend Christian( Jack Reynor) , who is not exactly helpful and more interested in himself. Their relationship was precarious as it was and now Dani leans on him for support which he is unable to supply her with. A few months pass and Christian, who is studying anthropology for a PHD, is invited by his Swedish friend Pelle(Vilhelm Blomgren) to a festival in his Nordic homeland. He is to be joined by fellow students reasonable Josh( William Jackson Harper) and obnoxious Mark(Will Poulter). Dani finds out and Christians reluctantly asks her to come with them, to which she accepts. She’s still reeling from her trauma and suffering with depression and anxiety, but the trip sounds like a good getaway for her. Touching down in Sweden, they go back to nature among the wide fields and mountains that are populated by a commune. Dani and the others are soon witness to the ways in which they celebrate and their intriguing but slightly off kilter ways of ritual and worship. At first, the practices seem odd but just slightly different and nothing too serious. There’s dancing, ingestion of strange ingredients with hallucinogenic qualities and the fact that everyone does things in a group which while weird doesn’t really give the impression of anything dark or macabre. Yet with growing horror, events get ramped up and grisly horror ensues for the visitors, most of all fragile Dani. What started out as a sojourn to a festival with a difference slowly morphs into a waking nightmare for Dani as things just get more and more intense, impacting on her already tenuous mental state.

Ari Aster proves Hereditary was no fluke with this electrifying and bizarre blend of psychological folk horror and a meditation on trauma. He goes for the creeping approach, peppering in shocks and even snippets of humour at the start then slowly bubbling away at the uneasiness mounting like a fit to burst volcano. Grief seems to be a subject with which Ari Aster is familiar with and Midsommar continues in that vein but from a more surreal and grander scale. The most obvious comparison to Midsommar is The Wicker Man. Both films feature a community that’s pagan religion deviates from what is deemed traditional and most of the action takes place in sunlight. References can be seen and are well done( for me it’s a high comparison with a classic), but Midsommar is its own film with a hallucinogenic sensibility and layered drama. While very much a horror film, Midsommar functions as an exploration of reaction to trauma, purging the soul and toxic relationships. The last mentioned point on relationships is especially true as things continue to go downhill for Dani. The horror hits home more for that very reason and then some. I believe Midsommar is the type of movie that is rewarding upon watching again. Pockets of information are scattered often in plain sight but make more sense once the whole picture comes together with frightening force. You’ll be left thinking about the film no matter how you feel about it that’s for sure and certain.

On a visual level, Midsommar is an assault on the senses. From a flipped shot that goes upside down in arresting fashion to the houses the commune live in that are decorated with telling murals, you can’t escape the sensory overlord and beautiful cinematography. The use of wide shots and aerial shots captures the surrounding in majestic form, fleshing out the setting that is as breathtaking as it is unsettling. Bathing events in a mostly bright sheen, horror plays out against flora and fauna in a most peculiar way. The setting is alive, quite literally in some parts as you’ll no doubt be witness to if you venture out to see Midsommar. One of my favourite touches is Dani among the ladies dancing around in circles, adorned with a flower headdress. It’s a scene that overlaps images to a dazzling effect and perfectly sums up the unusual stance of this movie. It’s spellbinding even when outrageous and stomach churning festivities are taking place, making sure you never quite look away from what’s presented to your eyes.The use of sound is exemplary, from the unusual rhythms and punctuated noises to the eerie sense of silence and stillness. It compliments the atmosphere of something being very sinister and extremely horrifying to come.

At the heart of everything is the promising Florence Pugh. Over the last few years she has impressed me with her versatility and she doesn’t disappoint with her performance  in Midsommar. She’s contained and crumbling under the burden of grief, constantly attempting to stifle her feelings. When it all comes out, Pugh nails the anguish and the sense of release, coupled with the slow and crushing sense of falling deeper into horror( or is it something else?) Her eyes are fascinating at profiling her internalised emotions that eventually reveal themselves with shocking intensity and surprising depth. Put simply, Florence Pugh impresses throughout with her surrender to challenging material. Jack Reynor nails it as the conceited boyfriend who gets put through his own horror and Reynor shines in the horrifying last act. Vilhelm Blomgren, William Jackson Harper and Will Poulter flesh out the other men of the movie who experience the terror unfolding, with Will Poulter the most memorable as the guy obsessed with getting sexy action and getting a lot more than he bargained for. As good as the guys are though, Midsommar belongs to the exceptional Florence Pugh who is for my money, going places.

Horrifying, hypnotic and hard to forget, Midsommar is one of the most unsettling films I’ve seen in a while. But like it’s predecessor, once you’ve viewed it, you can’t shake it. Ari Aster is shaping up to be a major league director and Florence Pugh is fast becoming a prominent and talented actress to watch.

Hereditary

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2010's, Alex Wolff, Ann Dowd, Ari Aster, Gabriel Byrne, Hereditary, Horror, Milly Shapiro, Psychological Horror, Supernatural Horror, Toni Collette

A visceral, emotionally haunting and horrifying psychological horror from the debuting Ari Aster, Hereditary plunges you into grief, family secrets and the terror of what we might inherit from our relatives.

Annie Graham(Toni Collette), a miniatures artist, is mourning the death of her secretive mother. She is joined in this by her therapist husband Stephen( Gabriel Byrne)and their two children; bored and dejected 16-year-old son Peter( Alex Wolff) and unusual tomboy daughter Charlie( Milly Shapiro) . The thing is Annie was estranged from her mother and various things in her past impacted their tenuous relationship. while young Charlie, who was her Grandma’s favourite, begins acting even more strangely than usual. Soon enough, a strange force begins plaguing the family. Though she secretly visits grief counselling for guidance, Annie believes she sees her mother again, Charlie also sees visions of this along with unusual phenomena. Peter buried his feelings in smoking pit and trying to get girls but tragedy brings him back around. Stephen is the main point of attempted calm in a powder keg situation that slowly starts to unravel. It all pertains to the deceased Grandmother, but how does it? As grief and tragedy plunge the family further into turmoil, Annie starts to lose her grip on her sanity and events descend into a waking horror for the Graham’s. Matters aren’t helped by the arrival of Joan(Ann Dowd), a mysterious woman who ingratiates herself into Annie’s life with shocking results.

Ari Aster marks himself out as a director with a future. He’s clearly a guy who loves his  spine-chilling, psychological horror and Hereditary is a testament to that. He’s got a fantastic handle over pacing; slowly dropping crumbs of information and things you think are just accidental, but are intentional. It’s a slow burn that’s punctuated by moments of shock horror and extreme situations, while still examining the ups and downs of grief in a bubbling way. Then when we get to the heart of things, all hell breaks loose and Aster unleashes chilling moment after moment. Be warned, the last half an hour is some intense stuff that will make even the most seasoned horror viewer sit up and be freaked out.

You’ll be left with images of great horror and of an unsettling nature once you finish Hereditary. And with good reason as they are plentiful and a credit to the visual team and the exploration by Aster. From slowly zooming camerawork to a mastery over sound( the sound of a tongue clicking will haunt your dreams as will Colette’s roars of grief and an intense dinner scene) , it’s a movie for definite horror fans. The claustrophobic atmosphere, heightened by the abundance of scenes within the family’s large house, helps us ruminate in how grief can isolate is and how familial ties are not always . This film isn’t full of cheap scares as it has more on its mind. Take for instance when Annie believes she sees the ghost of her mother. Most horror films would feature a sudden reveal, not here. Instead, Aster uses a wide shot and gets the audience to really pay attention as to see whether it was real or not, as if daring us not to trust our eyes. I admired Hereditary for the fact it didn’t have to resort to throwaway scares. Hereditary is certainly not for everyone, but for those with a penchant for dramatic scares and unusual imagery, this should be a treat. A rumbling score is the cherry on top of the cake as murmurs, low electronic humming and unusual instances of cacophony blend hauntingly.

One of the finest things in Hereditary is the committed performance from Toni Collette, who turns in some of her finest work. She’s put through the wringer of emotions and just displays them all so convincingly and vividly. From grieving daughter to mentally unstable and all that’s in between, Collette doesn’t miss a beat and often conveys varying feelings within seconds of each other. One can’t stress enough the sheer full throttle force with which she acts here. It has to be seen to be believed and experienced. Gabriel Byrne provides solid support in a role that could have been boring, but rises above such worries. He’s the non believer trying to keep his family together but failing as times passes. Alex Wolff gets the alienated and confused state of mind for his character just right, going between moments of escaping pain to enduring intense suffering that makes no sense to him. Rounding out the family is young Milly Shapiro, who sends shivers down the spine as the daughter seemingly most affected by her grandmother’s death. You never quite know what to make of this little girl but she is damn important to the story. In a small but pivotal role, the ever reliable Ann Dowd exudes an uneasy sense of niceness that is tempered with something that tells you that you can’t trust her as far as you can throw her.

Super unsettling, packed with ideas and thematic value, plus boasting impressive acting and an atmosphere of never ending dread, Hereditary is definitely for those who appreciate a slow burn and a searing drama within a horror movie.

American Horror Story: Hotel

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2010's, American Horror Story, American Horror Story: Hotel, Angela Bassett, Cheyenne Jackson, Chloë Sevigny, Denis O'Hare, Evan Peters, Finn Wittrock, John Carroll Lynch, Kathy Bates, Lady Gaga, Lily Rabe, Mare Winningham, Matt Bomer, Sarah Paulson, Wes Bentley

With Freakshow emerging as my least favourite season of American Horror Story, my expectations were high for Season 5. Thankfully, though not without some flaws, Hotel is a resounding success of horror, style and game acting. Be warned, spoilers may follow in this return to form for the show.

John Lowe( Wes Bentley) is a Los Angeles detective on the edge; he’s estranged from his doctor wife Alex(Chloë Sevigny) and on the hunt for a brutal serial killer who murders victims in accordance to The Ten Commandments. Plus he is haunted by the disappearance of his young son Holden years prior. He feels responsible for the disappearance and this is what he has to live with every day. One day he is given a tip off that his answers can be found in the Hotel Cortez. A glamorous yet run down establishment with a history of horror, it soon pulls John into its depravity and history of death. The owner of hotel is the fabulously dressed and very mysterious Countess( Lady Gaga). She is a vampire like creature infected with a virus that leaves the sufferer craving blood. Her companion of late is the handsome Donovan(Matt Bomer), who she goes hunting with. She was the one who took Holden as well as other children who she turns into creatures like her in order to create something of a makeshift family. She is a fearsome creature, but is secretly hiding her true self and tragic past. The Countess finds her head turned by volatile male model Tristan( Finn Wittrock) , which enrages Donovan. Also in her sights are the soon to be owner Will Drake( Cheyenne Jackson), a fashion designer who doesn’t realise he’s part of a scheme to get his money. There’s the ghost of James Patrick March( Evan Peters), the founder of the hotel in the 20’s, who turned the place into a murder palace and was helped by the ever loyal, cleaning fanatic Miss Evers( Mare Winningham) . On front desk there is Donovan’s surly mother Iris(Kathy Bates) who longs for a relationship with her son and Liz Taylor( Denis O’Hare), a transgender bartender who seems to see everything and everyone. Also traipsing about the Hotel is the ghost of one Sally McKenna(Sarah Paulson), a trashy junkie in a constant state of sadness and mania, who was pushed out of a high window by Iris for getting Donovan hooked on drugs in 1994. Arriving later on the scene is Ramona Royale( Angela Bassett) a former lover of The Countess with a big axe to grind. Everything comes to a head once John takes up residence and gets a lot more than he ever bargained for.

I think straight from the opening, Hotel stands higher than its season just passed. For starters, I found the characters had more flavour and personality than in the last season. Plus, you could connect with many of them too, primarily Liz Taylor and Iris who both convince as outsiders wanting something more in life. And though the story had many different angles and sub plots, it largely worked and it was fun seeing how various threads connected. Sure, some parts don’t amount to much, but I found it a lot more compelling than which seemed to run out of steam rather quickly. The themes of loss and rebirth form the main crux of Hotel and it was excellent how we watched the characters change and influence one another. Hotel ranks at least in my book as the bloodiest season thus far. As it has done in the past, the blood is shocking and grisly, but definitely used to fashion a twisted delight that scares and compels at the same time. Scenes that stand out for their brutality are The Countess and Donovan slaughtering a couple during sex, a junkie being mercilessly abused by a faceless demon, a corpse rising from a rotting mattress and most shocking, a band of infected children making a meal out of one of their teachers.American Horror Story references some of the best content in the horror genre with style and panache. The crimes of the killer are a stylish homage to Seven, while the hotel of the title takes its cues from The Shining. And I’m a big fan of the flashbacks to March’s mayhem and murderous ways as the show employs a grainy black and white to emulate the time and bring out events in horrifying detail.

As it has done in the past, American Horror Story always succeeds when taking influence from real life events. Here, the hotel is similar to that of the one the depraved murderer H.H. Holmes and the poor fate of the child of chambermaid Miss Evers blends with that of the Wineville Chicken Coop Murders. And the best of all the real world allusions is an episode entitled ‘Devil’s Night’. In it, March hosts a feast for the ghosts of dead serial killers, such as Jeffrey Dahmer, Richard Ramirez, Aileen Wuornos and John Wayne Gacy. An already starting to lose it John finds himself thrown into this horror show and under the influence of absinthe, watches as these killers enjoy their depravity and find merriment in their sickening handiwork. Watch out for memorable work from John Carroll Lynch and Lily Rabe. For some reason, its something that works in the scheme of the show. Visuals are a strong component in the show and Hotel is no exception right from the opening frames. It’s an extravaganza for the eyes and senses that’s for sure and certain. Particularly good is the fish eye lens employed at times that suits the unstable nature of the establishment and turns things into something unusual. I’m not the biggest fan of the overlapping of seasons as American Horror Story was originally billed as an anthology. Though saying that while some of the bringing back of other characters fails, I found the callbacks to Murder House were particularly effective and the return of the medium( also played by Sarah Paulson) in the finale was a very well handled part and one I really liked seeing. And I can’t not praise the production department who pull out all the stops when it comes to design. The Cortez becomes a dark hotbed of violence and style, clashing with each other with reckless abandon. A well chosen soundtrack and electric, humming score add further to the delirious ride through death, horror and story.

The cast surrender to the madness and horror with fantastic results.Leading the cast is the new addition of pop superstar Lady Gaga, who shows that acting is yet another skill in her arsenal. She plays the Countess as a seemingly aloof being who dresses and lives to kill, but is looking for something more. Her performance is very multifaceted and extremely impressive at showcasing various sides to the character, in particular deep tragedy coupled with ruthless sex appeal. Then we have Wes Bentley, who is suitably intense as the emotionally scarred detective finding himself falling into madness. He just burns across the screen with a vulnerability, quivering seriousness and frightening devotion. Matt Bomer, with his strong appeal and good looks, is ideal as the latest lover in the life of the Countess. He enjoys the position but it has grown a tad stale for him and his resentment starts to form. Plus, when he’s with Lady Gaga, they make a sizzling duo. As the new paramour of The Countess, Finn Wittrock is all scowls and attitude, with a few other layers underneath. Chloë Sevigny, who I’ve always admired as an actress, turns in emotional weight and desperation as a grieving mother who goes to extremes for her son. I liked her arc in this series as she begins as a broken woman and slowly gets in touch with another unexpected part of herself.

The best performances comes courtesy of Denis O’Hare, Kathy Bates , Evan Peters and Sarah Paulson. It’s good to see a transgender character portrayed on television with respect and honesty and Denis O’Hare acts his socks off. From the great one liners through the backstory of the transformation into the person she is today, it’s all played beautifully and sympathetically by the always watchable Denis O’Hare. Thankfully in recent times, many forms of media have followed suit by showcasing characters that are transgender and actually treating them with understanding and decency. Long may that continue. Ably complimenting him is the excellent Kathy Bates, who puts in another fantastic performance . Going from dark humour to crushing sadness and then a rebirth, Bates captures the attention with her convincing acting and A Game. The always impressive Evan Peters, playing probably his most extreme character thus far, is electrifying. Mixing a Clark Gable accent with a sadistic hunger for murder, he crafts March as a supreme being of evil that is strangely charming. Peters turns in one of his finest performances in the run of the show. Rounding out the standout quartet is the wonderful Sarah Paulson. Always seen here with a mournful look( complete with smudged eye liner and the appearance of never ending tears) that also shares itself with a sly underbelly, her portrayal of the messed up Sally is riveting. You really don’t know what you’re going to get with her character and Paulson rocks it. I adore Angela Bassett and how she embraces the outrageousness of the material. She just embodies the sassy, fierce and out there nature of American Horror Story. And even if her character’s arc doesn’t feel well utilised enough, Bassett makes it sensationally watchable all the same. Providing the unusual but also tragic is Mare Winningham as the chamber maid with a love of cleaning. At first glance she’s strange and you don’t know what to make, but Winningham discovers pathos and depth in this woman who could have just been one dimensional. The main cast member who isn’t really given a chance to make an impression is Cheyenne Jackson. I’ve seen him in other things and think he’s a good actor, but he just doesn’t really get a look in here.

Hotel finds American Horror Story back in fine fettle, owing to well written characters, a theatrical staging and plenty of chills.