Black Widow

Tags

2020’s, Action, Black Widow, Cate Shortland, Florence Pugh, O.T. Fagbenle, Olga Kurylenko, Rachel Weisz, Ray Winstone, Scarlett Johansson, Spy, Superhero Film

A stand alone film for the Avenger character from which this flick takes its name, Black Widow is thankfully not just another in a long line of generic superhero movies. Instead it has enough action to please die hard fans and depth/story to thrill those new to the character. Plus, a stylish look and a game cast truly make Black Widow something special and definitely what I call a thrilling film.

We begin with Black Widow/Natasha Romanoff (Scarlett Johansson) from authorities for actions committed while she was an Avenger and hiding out in Norway, aided by resourceful ally Rick Mason(O.T. Fagbenle) . Out of nowhere she is sent an antidote by someone she hasn’t seen since childhood, her “sister” Yelena(Florence Pugh) . It transpires that they were raised by “parents “ in Ohio while they acquired intel as spies. Later both girls were taken for training in the Red Room, where they ended up separated but highly skilled in combat. It was controlled by the cruel and power-crazed Dreykov(Ray Winstone) who Natasha believes is dead but is in fact alive. The two women, who were raised like sisters , have animosity towards each other at first which begins to thaw once the true scope of what they are fighting comes into view. It transpires that the legion of Black Widows that are from the Red Room are controlled via sinister means like a chip in the neck that renders the wearer completely under the power of another. Yelena was exposed to the antidote which broke the control over her before she went rogue. There is also a being by the name of Taskmaster , who can mimic the movements and skills of others who is in search of the antidote to bring it back to Dreykov. After breaking their surrogate “father” Alexei( David Harbour) out of jail where he has been still trying to capture his glory days as a hero, Natasha and Yelena meet up with their “mother” Melina(Rachel Weisz), who also has important information having worked for years as a sleeper agent. It’s going to take all of their resources to take down the powerful and his brainwashed ‘Black Widows’ so it’s all hands on deck in this fight to avert global disaster courtesy of Dreykov and for Natasha to atone and learn from her past.

I’ll admit that I’m not what you’d call the biggest fan of Marvel Movies . But I know enough about them to pass muster and have some understanding of them. I’m not opposed to the films as I find them quite entertaining, I’ve just lost count of how many there are. To be honest, while a bit of knowledge is good, Black Widow stands well enough as a stand-alone feature and you can go in uninitiated . Director Cate Shortland shows a skilful talent for blending kinetic action, snippets of humour and set pieces with a story boasting more depth that just your standard superhero movie . If anything, although definitely boasting tropes of a superhero film, it also functions as a cracking and twisty espionage thriller with more than a little sprinkling of Bondian greatness. Being a huge Bond fan, seeing various nods here had the inner geek in me thrilled and I’m sure it’ll do the same for the audience who sees this action packed movie. Keep an eye out for the sequence in which break out of a snowy prison. To say it’s epic is an understatement as it’s so outrageously entertaining . Shortland is clearly a director who has a handle on things and keeps Black Widow flowing to stunning effect. A slight sag in pace can be forgiven in a film like this that sweeps you along with action and surprising depth. Black Widow is also very stylish to look at, especially in the action sequences and a grainy, snappy title sequence of being indoctrinated into becoming set to the sound of a haunting cover of Nirvana’s “Smells Like Teen Spirit”. And speaking of music, a grandiose and thundering score of action, peppered with Russian chanting, is another highlight in a stellar production that surprised me in how much I enjoyed it.

The cast is where it’s at when it comes to Black Widow. Scarlett Johansson can play the part in her sleep, yet she still displays various facets that are new and revealing. Whether it be in the action scenes or emotional moments of attempting to reconcile her past , Johansson is nothing short of fantastic at shading her part and providing backbone to an already popular character. The always watchable Scarlett Johansson is what I’d call perfect casting having played the part for so long and continuing to impress us. Ably backing her up and burning up a storm is the ever talented Florence Pugh portraying sister figure Yelena . Pugh nails the feisty, foul mouthed and quick witted Yelena while showcasing a buried resentment and hurt at realising that her past was so controlled and not what she thought. As a result much in the same way that Johansson explores Natasha , Pugh crafts a multi-layered character in Yelena that you truly root for. It helps that both actresses convince as sister figures slowly regaining trust after being separated for so long. The chemistry between the two is evidently strong and a valuable asset to the film. David Harbour provides much in the way of laughs as the washed up superhero dad to the two leading ladies. He’s comically endearing as a character and Harbour finds the genuine feeling of pathos beneath the clownish exterior. Rachel Weisz adds layers of complexity to a woman who seems sightly cowardly yet warm in the beginning before revealing a vast intelligence and ruthless determination. The wonderful Weisz makes every moment she’s on the screen count with her performance. O.T. Fagbenle provides nice support as a loyal friend and helper to Natasha, who trades good quips and witty banter along the way. The only people who get somewhat shortchanged and not given that much to work with are Ray Winstone and Olga Kurylenko. Both do what they can with their roles, I just would have preferred a bit more of them and more material for them to work

A thrilling superhero/spy-action film of great performances, twisty story and oodles of style, Black Widow is what I’d define as high powered entertainment and a film that has something for everyone to enjoy.

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.

My Blueberry Nights

Tags

2000's, David Strathairn, Drama, Jude Law, My Blueberry Nights, Natalie Portman, Norah Jones, Rachel Weisz, Road Movie, Romance, Wong Kar-Wai

Film Title

My Blueberry Nights

Director

Wong Kar-Wai

Starring

• Norah Jones as Elizabeth
• Jude Law as Jeremy
• David Strathairn as Arnie
• Rachel Weisz as Sue Lynne
• Natalie Portman as Leslie

A soul-searching journey across America forms the basis of the romantic and strikingly shot My Blueberry Nights, the first film in the English language from Hong Kong film maker Wong Kar-Wai. There may be some flaws, but they can be put aside as you soak up this road movie of a young woman questioning love and herself.

As the movie opens in New York, a young and forlorn woman named Elizabeth has broken up with her boyfriend after discovering he was cheating on her. Stumbling into a local cafe at night, she finds the Mancunian owner Jeremy, who offers a sympathetic shoulder to cry on. After many of these late-night discussions and consuming of blueberry pie, in which Jeremy falls in love with Elizabeth, she leaves on an unexpected journey, but still keeps into touch via postcards. She wants to find something through her travels across America, mainly love and what she should do. Along the way, she encounters many offbeat characters whose own lives are very troubled and filled with drama. In Memphis, where she works a waitress to get the money to continue travelling, she witnesses the ravages of broken love in the case of alcoholic cop Arnie and his estranged wife Sue Lynne, who flaunts the fact she no longer cares for him. Events in this disharmony soon take a tragic turn. Moving onto Nevada, she meets brazen gambler Leslie, who has underlying pain of her own, and makes her a proposition. If Elizabeth stakes Leslie in a poker game which could be top draw, depending on the outcome Elizabeth could have a prized Jaguar to continue her travels and search for herself.

With the talent of Wong Kar-Wai behind the camera, My Blueberry Nights was bound to be a visually stunning movie. And though there are some shortcomings with the script, this is a movie that is all about mood. He uses the human face as a canvas of emotion and this repeats with Elizabeth’s winsome gaze and Jeremy’s longing eyes forming many beautifully constructed parts. As such, America is shown from an outsiders perspective throughout this film because of the director’s influence. The use of obstructing views such as lights, windows and blinds helps compliment the theme of wanting to understand something but not being able to fathom it. Eye popping colour abounds and creates a neon drenched atmosphere of unabashed romanticism and soul-searching among a host of cross-country events and searches. And I can’t think of a film in recent memory that made food look so passionate. As lashings of cream smother a blueberry pie, you can’t help but be sucked in by the romantic dreaminess at play. Occasionally, the languid pace can be a bit tiresome but it can be forgiven for that because of the sheer intoxicating dreamlike effect of My Blueberry Nights. The hypnotic soundtrack of clandestine jazz and soul grooves is an excellent addition to the atmosphere, tinting it with melancholy and the sense that hope could be near.

Musician Norah Jones makes her debut here and does quite a good job. She wisely gives Elizabeth that questioning winsome quality and soul that is required and despite her not being an experienced actress, she does very well in the part of the wanderer searching for meaning. Jude Law is his usual charming self as the affable and good-hearted Jeremy who falls deeply in love with Elizabeth. David Strathairn as the depressed and alcoholic cop Arnie who can’t let his wife go is very moving and you can’t help but feel sorry for the guy. Similarly, Rachel Weisz shows her emotive skills playing Sue Lynne, who parades around like she isn’t bothered but actually does. Both of these two bring emotional qualities to these characters. And rounding out this cast is the wonderful Natalie Portman. Portraying Leslie as a wildly dressed girl who lives for the thrill with bravado and charisma, Portman manages to tap into the deeper hurt behind the brassy shield the character puts up to those around her.

Flaws aside with the script and pace, My Blueberry Nights is still a magical film that is unabashedly romantic and lovely. This is really an underrated movie that I hope people will check out after reading my take on it.