Enola Holmes

This review may contain spoilers!

This film is a charming fresh take on the Holmes mythos while also highlighting the extraordinary talent of the upcoming Millie Bobby Brown. I would give Enola Holmes a 7/10.

Enola Holmes follows the teenage sister of Sherlock Holmes as she investigates the sudden disappearance of her mother and becomes embroiled in a mystery around the attempted murder of a young lord. This film works so well in no small part because of the leading protagonist, spending time with her as an audience feels fun and immensely intriguing. Enola is this really varied role; she displays a keen intellect and capacity for solving while also this wild and capable ability to defend herself in perilous situations. The choice to have Enola play straight to camera in a bid to break the fourth wall is a risky move that plays off exceptionally, as an audience member you feel more connected to the story and the character's way of thinking. Seeing Enola navigate the patriarchal oversight of Mycroft and the awkward bond she shares with Sherlock is another strength of the film. In truth this film is founded on its ability to craft character and relationships, seeing these explored is in some ways more fascinating than the two investigation threads going on throughout the film. Though being a part of an investigative adventure packed with fun twists, turns and action sequences is a lot of fun as well. The cinematography for this film is seriously creative, using elaborate framing and creative tracking shots and zooms to highlight the quirky nature of the feature. The score for Enola Holmes grounds you in both the time period and also the more light-hearted adventure at play, fights and dramatic moments are highlighted by strong orchestral pieces that really befit this thrilling film.

Henry Cavill, who played Sherlock Holmes, is simply fantastic as this more nuanced take on the infamous super sleuth; Cavill's ability to show Sherlock awkwardly handling his bond with his younger sister is one of the more charming aspects of the film. Sam Claflin, who played Mycroft Holmes, has to be one of the most reprehensible takes on Mycroft that I've seen and it was done brilliantly; Calflin has this arrogant gravitas to him and dark condescending demeanour towards his onscreen sister that makes him a character you will love to hate. Helena Bonham Carter, who played Mrs Holmes, might not be in the film much but brings out a lot of whimsical fun and charm in her early scenes with Brown; yet the strength of this performance is the love and connection we see between this pair right up until their very last scene together. Fiona Shaw, who played Miss Harrison, is a stern dominating figure throughout the film who serves as a nice minor antagonist for Enola; Shaw has this ability to play a mean role through an exterior that can be sickly sweet which set her as a cut above. Frances de la Tour, who played The Dowager, makes for a really nice complex antagonist for this piece; de la Tour seems to almost look fondly upon her country and her family's place within it while also acting in a way that is malicious and dark.

However, the best performance came from Millie Bobby Brown, who played Enola Holmes. Over the course of recent years Brown has emerged as a strong up and coming actress with a capacity for range, so it's only natural a character as complex as Enola was going to be her next step. This role is a lot of fun to watch, she has high energy in most scenes and constant process of thought that makes her very engaging to watch. Enola Holmes has all the deductive powers we've seen from Sherlock over the years but with a lot more forethought towards helping others and doing the right thing. Brown really pours a lot of herself into the role's relationship with her mother and the confusion and pain around being abandoned by her; this drives the role and admittedly strengthens her as she develops over the course of the film. I thought this character portrayal was excellent and it might just be my favourite performance from Millie Bobby Brown yet.

This film did have a few narrative problems, the chief of which was the two parallel main storylines. Throughout the film Enola is engaged in two mysteries, the disappearance of her mother and the attempted assassination of Lord Tewksbury. The problem with these stories is that, while on their own they function as interesting storylines, they don't actually blend together nicely at all. Often when one story advances, the other one is put on pause for a lengthy period of time causing some jarring interruption and pacing problems. The film often drags out and feels longer than it needs to because it has an unsteady flow and doesn't always prioritise the right narrative moments. Enola Holmes is also plagued with some poor storytelling elements, like faking out a character death on multiple occasions, that undercuts the audience's ability to buy into the emotion of a scene. The editing for this film is weirdly paced and the various animations and title cards are yet another element that creates a poor flow to the overall storytelling.

Adeel Akhtar, who played Lestrade, is far too much of a comical character to fit well into his police inspector role; Akhtar seems at a loss when his role needs to be stoic and almost scrabbles to find the humour in a scene. Louis Partridge, who played Lord Tewksbury, spends a lot of the film playing up the foppishness of his character and generally trying to play towards the romance angles of his relationship with Enola; yet you never really feel the connection between these two and Partridge's lack of ability to play to a more sophisticated role is a big part of that. Susan Wokoma, who played Edith, is not very believable as this secret judo instructor for women; Wokoma plays to a sharp figure but never really feels defined as a character.

Savage

This review may contain spoilers!

2020 has certainly had its up and downs but the genuine quality NZ cinema I have had the pleasure to watch this year has been the silver lining. I would give Savage an 8.5/10.

Savage follows Damage/Danny across the years of his life that see him grow from a young boy into a violent gang enforcer. I was hesitant to see this movie initially because New Zealand cinema tends to have a few gang features and I honestly wasn't sure another one could manage to do anything different. But Savage is a remarkable tale that focuses on a period of time in which New Zealand's social services failed the children and the minorities under it; particularly Maori or Pasifika kids. Danny's story is a tragic one to watch; you see this kid steadily lose his family, his connection to home, his principles and ultimately a significant part of his identity. This film highlights a system that never cared for kids liked Danny, so he was pushed to survive on his own and found himself driven towards a violent, criminal lifestyle. Seeing him years on as Damage is a harsh watch, watching someone so incredibly paranoid and bent on maintaining his gang leader's power is very distant from the kid we first came to know. Yet Damage is still grappling to be something better, he wants to be free of aspects of his life and the internal struggle he faces is truly one of the greatest aspects of the film. The cinematography is really intimate which befits such an amazing character study; every shot feels tight and introspective which really helps convey some of those inner thoughts characters are struggling through. The score and soundtrack for this film might be one of the best I've heard in a gang feature for a while; there's a very washed out, frantic tone set that has a tendency to turn angry and sharp in a nice parallel to the main character.

Haanz Fa'avae-Jackson, who played Teen Moses, was by far the best performer in the Moses roles throughout the film; Fa'avae-Jackson had this reckless mean streak to him that led to some very unpredictable and character defining scenes. Olly Presling, who played Young Danny, gives the majority of the cast a very serious run for their money; Presling is a young performer but he handles complex scenes and emotions like an actor four times his senior. Lotima Pome'e, who played Young Moses, is really charismatic as the prankster with a quick wit at the state youth housing facility; Pome'e has a lot of grit and pull in that environment while also forming a friendship that feels honest and kind with Presling.

However, the best performance came from Jake Ryan, who played Damage. This film was a character study through and through, often leading a lot of the work to full on to each of the actors responsible for portraying Danny/Damage. Ryan's portrayal was very sullen and mean, he had this intense way of moving through a scene and interacting with other characters that immediately told you who he was and how much power he had. There was something brutally instinctual about he reacted towards violence, he would turn towards this almost bestial drive of kill or be killed.Yet there was this inherent sense of honour to Damage in spite of how warped and hardened he had become; he still seemed lost in the life he found himself in and he still protected those that were vulnerable within his gang. Ryan spends a great deal of time breaking this character down and then steadily building him back up to a moment of redemption that I think sets this film apart as one of the best I've seen this year.

I'm glad this film took the direction of an intensive character study but in spite of this there were some moments in which Savage couldn't escape the stereotypes of a New Zealand gang feature. Seeing these tough personas bully one another through empty power struggles or feuds to the backdrop of state housing or cast iron compounds isn't very impressive or new. In fact the moment the film drifted away from Damage is often when the film suffered. Subplots like Red's redemption arc through a young love story was pretty cheesy and undercuts an otherwise impressive narrative. The editing for the film also tends towards the slow side which doesn't aid the more adrenaline-packed sequences.

John Tui, who played Moses, is hard to buy as the leader of a gang in any scene he's in; Tui doesn't intimidate nor does he ever really command attention when he enters a scene. Chelsie Preston Crayford, who played Flo, is a charming role that doesn't really seem to have much form or function; Crayford has charisma but she never really finds a defining motive behind her role which makes her role a little forgettable. Seth Flynn, who played Liam, feels like he has had the life sapped out of him; Flynn is playing a recovering gang member but you could never be convinced that he came from a tough life in this film. James Matamua, who played Teen Danny, is the only weak link in the otherwise impressive acting line for the Danny character; Matamua plays this really perky, easy-going take to his role which makes it hard to believe that he fits anywhere in a gang setting. Jack William Parker, who played Teen Liam, is quite wooden with his delivery and struggle with line delivery; Parker never struck me as a member of a gang and it's hard to be convinced by his tough guy act. Alex Raivaru, who played Tug, is quite a generic gang opponent antagonist; Raivaru's bluster as a small-time bad feels very over the top in the way he portrays it. Italiyah Wilson, who played Lilly, is left holding the responsibility of portraying most of the young love subplot of the film and it is a tough watch; Wilson seems disinterested or unable to find any sense of a connection to the story or her co-star, Merritt-McDonald. Poroaki Merritt-McDonald, who played Red, gives the same young blood gang member uncertain of his place in the world performance that I've seen in any other film like this; Merritt-McDonald plays his emotions way up and never finds the charming light the feature is clearly trying to cast him in.

Mulan

This review may contain spoilers!

We are now striking up yet another lifeless husk of a Disney live-action adaptation. I would give Mulan a 4/10.

Mulan is a live-action adaptation of the Chinese legend and animated Disney film of the same name. Within this film we follow Mulan as she takes her father's place in the Imperial army and risks her own life to stop Bori Khan and the nomadic tribes from invading the Empire. I felt this film did a good initial job of setting up a really threatening antagonist; when first Khan appears onscreen you get the sense that he is capable of a lot of carnage even with a small number. Seeing a villain who is capable of manipulating those around him to cement his power and then utilise all he wields to decimate the heroic forces is really appealing to watch. I also thought the film did it's best in the second act when it was feeling out the camaraderie in the military camp and Mulan was navigating how she would fit in with her fellow soldiers. There were scenes with good humour and even character exploration that left me genuinely interested. The score for the film is this powerful harmonious blend of the original score from the first film and a powerful ballad that speaks often to the setting and the more mystical nature of this film.

Yoson An, who played Honghui, is a rather aloof yet charismatic role in this film; An is a really likeable friend to the protagonist and is a key bridge to her finding her own way as a warrior. Pei-Pei Cheng, who played the Matchmaker, really strongly embodies the cold discipline of this character; the almost comic displays of brutal rage make this one of the more memorable minor roles in the feature.

However, the best performance came from Jason Scott Lee, who played Bori Khan. This was an antagonist who could back up everything he said or did onscreen for almost all the time we saw him. Lee was this relentless, intimidating force throughout; you believed he was a warlord and he filled a scene the moment he stepped into frame. This character wasn't just all brute power either which I liked, Bori Khan used cunning to trick his foes and allies alike and then used his own cunning to control many powerful assets he had at his disposal. I enjoyed seeing Lee play up the themes of vengeance with this role, his hatred for the Emperor was palpable and it was when he allowed this to guide him that we saw the beginning of Bori Khan's descent into defeat.

This movie never really felt like it was in strong hands while you watched it, wjetjer it was narratively or visually the film had a tendency to trip over itself somewhat. This movie paints Mulan as a young woman capable of greatness due to a magic spiritual ability called 'chi', which is a problem for a number of reasons. Firstly Chi is represented as an ability that enhances fighting, allows opponents to move or or fight in ways they couldn't otherwise, use telekinesis and there was one antagonist who used the power to become a flock of birds. Chi was this plot device that allowed the characters to do whatever they wanted or needed to advance the plot, it became a serious crutch for the film. It also de-legitimised Mulan's story, she rises above prejudice because of her own bravery and merits in past stories we've been told. This film paints Mulan as some all-powerful chosen one, who gets to unlock the magical power of Chi once she reveals herself to be a woman to the army she served. The narrative doesn't really paint Mulan as someone who has emerged this powerful and capable warrior in spite of the prejudices against her, rather the film gave her powers and turned her into a magical martial artist with a half-baked female empowerment plot that is never really explored.The film constantly rings hollow and underutilises some key plot elements while extensively over-utilising others. For example, the constant display of the phoenix to represent Mulan's connection to family and sincerity to herself is shoved into scenes rather than functioning as an active element of the film. The film itself only ever looks good when the location looks good, often a scene feels set up and that often makes you feel like you're watching events that have been filmed on a small set pretending to be bigger than it is. The special effects throughout look terrible, with some of the CGI creatures such as the bird or phoenix looking distinctly out of place.

Yifei Liu, who played Mulan, moves through this film doing what a scene requires but never really crafting a character you connect with or care for; Liu's Mulan works to what individual scenes require of her and I struggled to see this role go through any sort of arc that felt personal. Donnie Yen, who played Commander Tung, is wasted in this stoic military leader role; not only is this a role drained of emotion but it felt like a cheap casting to just see Yen do some of his signature stunt work in a smattering of scenes. Li Gong, who played Xianniang, is a relatively new antagonist who function as a poor mirror to a poor protagonist; Gong hurtles from overly sinister to morally conflicted and it becomes hard to believe she fully follows the direction of her character's motivation. Jet Li, who played the Emperor, doesn't display much in the realm of emotional range or character portrayal; Li holds firmly onto stoic delivery and doesn't let go of that guiding principle the entire film. Tzi Ma, who played Zhou, is so much angrier and more reactionary than what you'd expect for a father figure whom the protagonist cares for so deeply; Ma doesn't really seem to know how to play to the father role he's been given and this doesn't make for a very fulfilling relationship played out onscreen. Rosalind Chao and Xana Tang, who played Li and Xiu respectively, are more background figures than Mulan's family at times; Chao is often denied opportunity in favour of Ma, while Tang's sisterly portrayal never has much depth to it beyond a shared family joke. Jun Yu, Chen Tang, Doua Moua and Jimmy Wong, who played Cricket, Yao, Po and Ling respectively, are a signature group seemingly added for comedy and as points of connection for the protagonist during the second act; yet as a group these roles don't live up to the task and it's pretty easy to forget they're even there at all.

The New Mutants

This review may contain spoilers!

I never thought that I would be so emotionally invested in the last Fox produced X-Men film, but here we are. I would give The New Mutants a 7.5/10.

The New Mutants follows a young group of mutants who have manifested dangerous abilities and are kept within a dark holding facility in an effort to teach them to control their powers. However, not everything is as it seems at the facility and the nightmares of the young mutants begin to come to life.While watching this movie it didn't take long before I realised something; this might not be the best X-Men universe film but it is the most X-men film we've probably ever had. Let me unpack that a bit. The X-Men have always dealt with significant issues around equality and civil rights, often through the filter of a big superhero battle or threat. This film presents us with a facility that isolates and attempts to correct young people because they are mutants, because they are different from others. The main protagonist of the feature is a Native American girl who is the sole survivor of an attack upon her reservation and is now suffering through that loss while trying to navigate a very hostile new environment. This film takes it's time to get going in the first act but once we get to see the leading characters interact with one another and form bonds then you really begin making a connection with that which you're watching. One of the biggest examples of this I thought was the relationship that developed between Dani and Rahne, these were two very vulnerable characters who worked together to rescue one another from the prison that had been trapped in. I also felt that the horror elements of the film served the narrative strongly, crafting a way for us to understand the characters more while also presenting really bone-chilling adversaries for our heroes. The cinematography for the film is consistently nice to watch, keeping a really intimate dynamic between the numerous leads and making expansive use of the original set pieces. The special effects for the film almost always look great, the design for Magik, Lockheed and the Demon Bear being some of the creations worthy of note.

Charlie Heaton, who played Sam Guthrie, is wracked with guilt over the origins of his power when we are first introduced to him; Heaton balances a character who is fiercely loyal to his friends while devastated by his harrowing past. Blu Hunt, who played Danielle Moonstar, holds strong in the difficult position of lead protagonist; Hunt's journey from the hurt of being a sole survivor role to discovering love and a family in her new friends is such a great character arc to watch. Henry Zaga, who played Roberto da Costa, is immensely charismatic from the moment his role appear onscreen; I like the tough facade he displays in front of the group initially and how quickly that crumbles by film's end.

However, the best performance came from Maisie Williams, who played Rahne Sinclair. I loved Williams as Arya Stark but really this might be my favourite role of hers that I've watched so far. She has a very guarded approach when first introduced, the hard aspects of her past leave her reluctant to move forward. Yet in spite of this she is driven forward by a desire to escape, she wants to be in control of her power so that she can move on and live normally again. From the moment they first share a long scene together I was blown away by the chemistry between Williams and Hunt, they have this shy yet trusting friendship that evolves into this really lovely dependable onscreen romance. Superhero film romances are often notoriously bad but this was one of the strong aspects of the feature without a doubt, just watch the scene where Williams' character gets embarrassed about her wolf ears in front of Hunt and you tell me that isn't amazing. Williams crafts a role who grows stronger after facing her fears and by finding someone to fight for in the facility, she becomes the hero who will stop at nothing to save those she cares for. This was a knockout role and one of my favourite new superhero performances.

The New Mutants was a surprisingly good hit for me but it was also supposed to release a couple of years ago and it shows. The film never really went through the full production process it was intended to and the narrative does possess some very disjointed moments to watch. This manifests with sudden scenes in which characters get very friendly with one another very quick or the nightmare component of the film escalates dramatically. These are fine thing that with a little tuning could've run much smoother. The first act of the film isn't a great starting point; the arrival into the facility is a long drawn out introduction process that lays out the setting, characters and key plot elements in several long exposition heavy scenes. The ultimate result is a rather slow beginning that takes its time to pick up the pace. The film also has no significant plot twists in store for the audience, the source of the nightmare creations is abundantly obvious from as early as the first ten minutes and the threat of the facility they are all housed in is a bit of a given. The final fight of the film is a bit anti-climatic in the sense we don't get much of a powers display and the idea of kindness to yourself defeating the big bad is a bit of a tough sell. There are several effects or editing moments in which some of the background drama has clearly created a rushed if not entirely polished visual product. The score for the film flaunts some very eerie tracks but there's nothing here that you'll really remember or that will have you on the edge of your seat come the end of the film.

Anya Taylor-Joy, who played Illyana Rasputin, was caught with the wild card role that was just too twisted and zany to ever really flesh a likeable character out of; Taylor-Joy's character was the 'bully' character who was tough to like and her certain about change wasn't very convincing. Alice Braga, who played Dr. Reyes, was a very toneless role who was pretty easy to predict as the feature antagonist; Braga just played the scientist component of this character as drily as possible which sadly lead to a pretty forgettable role.

Bill And Ted Face The Music

This review may contain spoilers!

This is far more Bogus Journey than Excellent Adventure, a major bummer. I would give Bill And Ted Face The Music a 1.5/10.

Bill and Ted Face The Music sees our heroes continue in their efforts to create the song that will save all reality and unite humanity. However, when faced with an impending doomsday deadline the duo head into the future to steal the song from their future selves while their daughters travel to the past to assemble a most bodacious band. This film really succeeds comedically in a few scenes where it isn't trying to be funny; like in the original movies the nature of the scenes are absurd so comedy and hilarity ensue. It's moments like these which gave me a point of connection to the original films and also managed to leave me feeling entertained.

Keanu Reeves and Alex Winter, who played Ted and Bill respectively, still fall into these roles as if it were yesterday; the aloof delivery and unbelievable onscreen chemistry is as fresh as it was in the first Bill and Ted. William Sadler, who played Death, was one of the best performances in Bogus Journey and still such a pleasure to watch; I loved seeing Sadler go full rock star diva in the wake of his role exiting the Wyld Stallions between films. Hal Landon Jr., who played Chief Logan, has always been so consistently great as the stoic father figure to Reeves' Ted; I really enjoyed watching Landon Jr. continue to tirade and attempt to guide the two protagonists. Jillian Bell, who played Dr. Taylor Wood, was only a minor role in this film but such a great performance all the same; Bell did a very good job of reacting in quite a grounded way to a very absurd set of scenes which only really heightened the humour of the moments.

However, the best performance came from Samara Weaving and Brigette Lundy Paine, who played Thea and Billie respectively. I really enjoyed seeing a new younger pair take a swing at all the familiar movements and expressions we normally get from Winter and Reeves. It just felt like these leading performers had more energy and enthusiasm for their scenes, which meant any time they were onscreen you felt the thrill of the adventure component of the story again. Weaving and Lundy-Paine bounce off one another effortlessly, they felt like best friends and shared a dynamic that outshined any other in the film. This was a stand out duo performance that really brought a bit of charm to this Bill and Ted movie. If there ever had to be another Bill and Ted, then it's Weaving and Lundy-Paine I'd like to see.

This film suffers majorly due to such a glaringly bad plot. The original films don't have stunning stories either, but the reason that works is because they know and under stand that. This film on the other hand tries to take itself a little too seriously for what has always been an absurd comedy series. The film starts with us discovering that Bill and Ted no longer are just responsible for uniting the human race but from preventing the end of all reality. The film really pushes this idea that it's 'bigger' and more 'significant than any other adventure our heroes have been on before. From there you watch Bill and Ted squabble through the complicated dynamics of being failed middle-aged adults, go through marriage counselling and worry about being a washed up band. The tone gets a lot more hum-drum, though the leads are still their goofy selves they've lost a lot of what made them so positive to watch. Even the adventure into the past to collect historical figures that the daughters go on isn't particularly well executed; there's a lot of justification and work into acquiring each character which takes a lot of fun out of that particular storyline. You can only watch so many scenes of Bill and Ted arguing with future versions of themselves, listen to poorly delivered scientific theories from Kid Cudi or hear a self-aware annoying robot tag along so many times before you have to admit that sometimes a nostalgic cult hit doesn't really need a sequel. The cinematography for the film doesn't look very well mapped out and there's not a lot in terms of style to the film. The special effects look like they tried which makes their failure so much worse, the charm of the old films was they knew that their special effects were bad but this movie refuses to play to that. The score for the film is very piecemeal and thrown together, while the soundtrack is pretty dull for a film that so heavily centres upon music.

Kristen Schaal, who played Kelly, is wasted as this film's go to for all things exposition and explanation; Schaal is a comedy powerhouse and it's a struggle to see her have to deliver a lot of very bland lines in all of her scenes. Anthony Carrigan, who played Dennis Caleb McCoy, had to be the worst role of the feature; this character was a throwaway goon up until the feature made him an annoying minor role with way more screen time and dialogue than he deserved. Erinn Hayes and Jayma Mays, who played Elizabeth and Joanna respectively, just did not function at all as the wives of the two main protagonists; a significant aspect of the story was around the marriages of these characters but you never saw any sort of connection or romance between them at all. Beck Bennett, who played Deacon, was completely shunted to the background as Reeves' brother; Bennett just never connects with any of the cast members he's supposed to be family with which really makes him a small blip in the film. Kid Cudi, who played himself, isn't fooling anyone as this hyperaware abundantly scientific version of himself; the spam of jargon that Cudi expels sounds learnt but with no real knowledge of what he's actually saying. Holland Taylor, who played The Great Leader, is quite a generic stoic leader from the future; her stern commitment to the end goal and little in terms of an emotional performance makes the future one of the least exciting settings in this film. DazMann Still, Jeremiah Craft, Sharon Gee, Patty Anne Miller and Daniel Dorr, who played Jimi Hendrix, Louis Armstrong, Ling Lun, Grom and Mozart respectively, are almost worst historical figures in this film because they have to appear more convincing than historical cast members in previous films; Still and Craft in particular get the most screen time and as a result feel the most like they're just pushing pale imitations of their roles.