King Richard

 This review may contain spoilers!

 

King Richard is a biopic following Richard Williams as he coaches his daughters, Venus and Serena, to tennis greatness. I think the reason this film succeeds so well is that it's a story about family, albeit an extremely unique one with a lot of heart. Watching the struggle to raise champions at the heart of the Williams' family's motivation immediately makes you think of competition and struggle, but what we see is an exceptional amount of love and humility. This family doesn't break one another in the push to succeed but the drive to get there certainly does wear a toll on these people. You see it in the personal outbursts from Richard, the hurt from Venus when she wants to start tournaments and the marital strain between Richard and Brandy. At the heart of this unique story about working towards success is the protagonist for the film, Richard Williams, an extremely eccentric and engaging character. As a coach and father this man is relentless, coaching his girls at all hours in all conditions; all the while pitching them to potential high profile coaches as part of his 'champion plan'. But while Richard is relentless in his search for coaches and his daughters' success he has a peculiar approach to supporting them; undercutting professional coaches and withdrawing his daughters from junior competitions in order to enhance their education. There is also a powerful story here around adversity in which we see the Williams family face incredible obstacles while living within the ghetto. During this period of poverty we see Richard assaulted by young thugs, his daughters harassed and Richard himself almost descend into a violent act before witnessing a brutal drive-by. It's a horrible glimpse into poverty and a very real reminder of that knife edge this family lived on before their success. I found the perspective of looking at the rise of Venus and Serena through this unique period of their lives in which they were simultaneously being raised and coached by their father and mother was the perfect way to present the Williams' story. There is a visual presentation for those tennis sequences that are just unbeatable, you feel the span of the court and both the power and pressure behind each shot. The score for the film is very poignant, reflecting on those moments of struggle and heralding the moments of triumph in the success of the family; the soundtrack has some American classics that showcase the journey this family goes on throughout the feature.

 

Aunjanue Ellis, who played Oracene 'Brandy' Williams, is an absolute powerhouse of a performer who has multiple scenes where she matches and even surpasses Smith; Ellis crafts a woman who is a rock for her children and a fierce defender of them too. Jon Bernthal, who played Rick Macci, really gives something here that I don't feel we see from him often; Bernthal presents a very charismatic individual who really struggles with having his sense of power usurped by Smith's role. Saniyya Sydney, who played Venus Williams, really plays strongly to the passion and drive of her character; Sydney's depiction of feeling like she failed her family in those final scenes is a very moving moment. Demi Singleton, who played Serena Williams, has such a lovely and likeable bond with her onscreen sister; furthermore I found how Singleton played Serena's jealousy to be subtle and well-portrayed. Tony Goldwyn, who played Paul Cohen, is quite the strict individual with a real sense of mastery that aids his portrayal of a coach; Goldwyn has some nice tension with Smith as the pair clash in small ways during the training scenes. Mikayla Lashae Bartholomew, Daniele Lawson and Layla Crawford, who played Tunde Price, Isha Price and Lyndrea Price respectively, really are crucial in establishing the family dynamic; seeing how these sisters laugh and honestly interact with one another is one of the strengths of the film.

 

However, the best performance came from Will Smith, who played Richard Williams. This is a film very much built around the perspective of this protagonist, a man who is very eccentric and unique. From the beginning Smith crafts an intrepid individual who is exceptionally determined and approaches his goals in a way that is somewhat peculiar. Richard Williams shapes his and his family's lives around his plan for creating champions out of his young daughters. Smith plays to humility in a way that feels like cowardice at times, yet there is a rage there at times that threatens to peek out. Richard Williams desires control and he is unwilling to see the roadmap he has laid out ignored. Yet overall what I think is so fascinating about this performance is that Smith still crafts a family man who seems good, he teaches the value of having fun while playing and being humble in victory. This man is a pillar in his family and he models love almost as much as he pushes for success.

Sometimes biopics can't help but reach a limit because the story isn't unique enough, either in its telling or by the nature of the narrative. Throughout King Richard we see examples of adversity, sports prodigies being pushes for success and a controlling patriarch but these elements aren't anything new. They certainly don't shape into a film that will turn an audience member's perspective inside out and upside down. This is a well told film but those expressive moments of joy and success we get by the end of the feature are something you'll sense coming from the first ten minutes. This is also a film with a very slow pace that takes its time getting to that final match, not every scene is especially necessary and there was room for cuts to be had.

One of the better sports biopics I've seen in recently years, very compelling and openly honest. I would give King Richard an 8/10.

Last Night In Soho

This review may contain spoilers!

 

Last Night In Soho follows Eloise Turner, a young fashion student who is ecstatic to be moving from her countryside town into the bustle of London. However, when Eloise becomes plagued by visions of a young woman's murder in 60s Soho she must do everything in her power to come to the bottom of the mystery. This film really does something right from the very beginning by introducing us to a protagonist like Eloise, she is a young woman brimming with energy and ambition. Her dreams for the future and excitement for the big city life are very romantic and you can't help but empathise with her immediately. Yet that cold underpinning of male harassment and bullying she is subjected to is extremely important, even more so the way she responds to it with such firm defiance. Watching Eloise's romanticism become quashed by the grim reality of living alone in a large new space is quite humbling but it sets us up well for the best part of the film. Once Eloise begins experiencing visions of Sandie and the intoxicating world of 1960s Soho a really unique duality is portrayed. As our protagonist becomes further and further enthralled in these visions we can't help but join her, which makes the tilt in which they start to become unsettling all the more tense. I really enjoyed how the feature toyed with showing the link between Eloise and Sandie, merging their lives and then shattering them apart at precise and key intervals. The cinematography throughout is nothing short of stunning, I was in awe of how grandiose every shot looks. There is an elegance about how this film is presented and also seamlessly maps out those key scenes in which we see Eloise and Sandie contrasted. The score for the film is very unsettling and peak thriller where it needs to be; but I think the soundtrack might just be one of the best I've heard in an Edgar Wright film yet.

 

Michael Ajao, who played John, is a very softly spoken charismatic individual; Ajao really plays a calm figure in a storm here and I enjoy seeing how he anchors and supports McKenzie's character. Synnove Karlsen, who played Jocasta, is in her element as the toxic dorm room bully; Karlsen plays well to those subtle shades of jealousy and knows how to really land a strong barbed piece of dialogue. Terence Stamp, who played Lindsay, is a very unnerving figure throughout this film who comes across as a bit of a sleaze; Stamp portrays a man you almost want to see as an antagonist because he really preys on our female lead in an uncomfortable way to great effect. Diana Rigg, who played Ms. Collins, is a very curt figure who is strict in the way she manages her affairs; seeing Rigg lean into the antagonist persona and embrace the resentment at having her life snatched from her by villainous men was great work with a poor script choice. Anya Taylor-Joy, who played Sandie, is an extremely confident powerhouse who knows how to command a room when we meet her; it is one of Taylor-Joy's greatest triumphs showing how affected and damaged her role is by the manipulations she is put through. Matt Smith, who played Jack, is like a coiled serpent waiting to strike when we meet him; SMith brings a level of charisma to his character but there is something hiding behind his eyes that warns us he is dangerous and only grows the further the film progresses. Sam Claflin, who plays Young Lindsay, is almost a mirror to Stamp's performance; while this role has a sense of duty and responsibility you can't but be reviled by him. 

However, the best performance came from Thomasin McKenzie, who played Eloise. McKenzie is a performer who is really on the rise right now and has had a diverse range of roles from working under Taika Waititi to M. Night Shyamalan. But out of everything I've seen from her so far there is no doubt in my mind that this is McKenzie's best work yet, made all the more deserving by the fact that she is the one leading the feature. Eloise is quite a bright, fun character when first we meet her; she literally dances into frame and enchants the audience with her dreams and aspirations for the future. I liked seeing how McKenzie's played the quiet tragedy that settles over her role at the loss of her Mum from a young age. I also think seeing how strongly and responsible Eloise reacts to male harassment is extremely important to the message of this film and how she interacts with the events moving forward. Watching McKenzie shrink at the face of her onscreen bullies is incredibly important, we see her pushed into a very low and vulnerable place. The wonder and joy she gains from her initial visions of 60s Soho is intoxicating and powerful. Every moment of terror as the feature turns to the darker side of this thriller is perfectly captured by McKenzie too. I expect only more and more from this actress as her star continues to rise.

This was shaping up to be my favourite Edgar Wright film for a significant amount of the feature, and then the final act happened. To be transparent this wasn't a perfect film for the first two acts by any means. The film really struggles to blend the supernatural thriller elements with the psychological thriller elements it is attempting to show. The supernatural aspects of this feature very rarely make sense even if they are well used in some moments of the film. We never really understand why Eloise can see her dead Mum and Sandie, the film just tells us it is so and the film carries on. It's a funny thing where a concept grows legs and runs with itself without really establishing any ground rules for why it works. In the final act the film really fumbles a lot of the narrative by making Sandie an antagonist and even having a scene in which we're meant to see the male abusers in a more sympathetic light. In a feature focused heavily on male harassment, manipulation and abuse it was a very reckless decision and undercut a lot of the key moral messages up until this point. I felt like Last Night In Soho is a phenomenal film to watch but it really needed to weigh up what was important to leave the audience with. The special effects used to make the faceless male ghosts was pretty lousy as well, I think a more creative option could definitely have been utilised.

 

Rita Tushingham, who played Peggy, gives a very generic maternal performance; the over affectionate doting grandmother is a very two-dimensional role that Tushingham fails to lend depth to.

An absolutely wonderful cast, delightful visual style and superb soundtrack that is only really let down by a poorly executed final act. I would give Last Night In Soho a 7.5/10.

 

Eternals

 This review may contain spoilers!

 

Eternals follows a race of cosmic-powered beings who work together to stop alien predators known as the Deviants from wiping out mankind. For millennia they have safeguarded humanity, but when the Eternals learn their true purpose on Earth they must decide to follow their purpose or do what is right. I found this film to be one of the more complex Marvel features in a while, the worldbuilding here is unlike anything I think they've done. I was really compelled by the idea that these Eternals serve powerful cosmic beings known as Celestials who basically function as sentient batteries for entire universes. The entire premise of this film asks if the Celestials way of sustaining life is okay and if the Eternals even have the right to oppose their masters. These are big themes around free will, the nature of man and the greater good which are told expertly and often left me pondering about the nature of our heroes plight throughout. There is a real emphasis on show not tell during the narrative, no small feat given the scope of the story. But I found this steady, progressive mode of storytelling far superior to the exposition fest blockbusters often wind up being. The Eternals aren't really your average superheroes either; they are complicated individuals with powers. The movie puts an emphasis on connection, how this powered family comes together or fractures apart; how the Eternals essentially evolve together over the years. The intensity of emotion and connection portrayed within this cast marks this an ensemble feature supremely worthy of praise. The cinematography is sublime, mastering capturing settings really well and also handling scenes with large groups of characters in a visually appealing way. The special effects are some of the best I've seen so far this year, everything looks so unique and fascinating; no small feat given there's practically a special effect in every scene. The score for the film is beautiful and speaks to the wonder depicted throughout; the soundtrack is more gentle and key to those more poignant scenes.

 

Gemma Chan, who played Sersi, is a really intriguing protagonist who does a great job of depicting someone motivated by compassion; Chan is integral to portraying the inner conflict between purpose and the right thing to do. Richard Madden, who played Ikaris, takes a while to really find the strength of his role but once he gets it you will be hooked; seeing Madden portray a figure so warped by their principles that they stand against those they love is a great performance. Angelina Jolie, who played Thena, is someone who radiates power onscreen but who gives a great juxtaposed performance to this; watching Jolie's role struggle with a mental ailment she has no power over is one of the most intriguing aspects of the film. Salma Hayek, who played Ajak, really encaptures these long years of deep-rooted wisdom; Hayek's role is a leader who loves tose she is in charge of and comes across as more of a head of a family. Kumail Nanjiani, who played Kingo, is one of the most charismatic roles in the film and extremely funny to boot; Nanjiani's role having chased fame and fortune makes him a comedic contrast to the rest of the Eternals. Brian Tyree Henry, who played Phastos, is one of the most versatile members of the cast; this is a character who can go from being very quick-witted to having one of the most emotional depictions of remorse in the film. Lauren Ridloff, who played Makkari, is suc an energetic and excitable role who is very fun to watch; I loved her sharp barbs and the connection she shared with Keoghan. Barry Keoghan, who played Druig, is one of the more complex performance in the film; the way Keoghan presents a role who isn't necessarily doing the right thing but is doing it for the right reasons while still remaining quite likeable is very well done. Ma Dong-seok, who played Gilgamesh, is very much the gentle giant of the film; Dong-seok feels like one of the strongest figures in a room but the way he talks about healing, recovery and love makes him an extremely remarkable role. David Kaye, who voiced Arishem, has brought a figure so imposing that he has changed the balance of power in the MCU; Kaye's voice work is perfect because he delivers dialogue with such eloquence and strength that you are fearful of him and in awe of him.

However, the best performance came from Harish Patel, who played Karun. I think this role is so easy to like because he is the lens for the audience, the character we all get to relate to strongly. Patel observes these mythic figures with a genuine sense of awe, he is entirely dumbfounded that he is travelling with beings who are literal demigods. Patel is also a brilliant source of comedy, landing the funniest lines without a doubt. Patel and Nanjiani really bounce off one another extremely well, they have this charisma that makes their dynamic so unique and fun to watch. Patel's final thank you speech to the Eternals is a moving moment, a small scene that really gets right to the heart of the film.

When I started watching Eternals I didn't think I was going to like it, in fact I was almost certain it would be one of my least favourite Marvel films. The first twenty minutes sees the characters acting in a very stoic or blank manner, to simulate each of them having no memories on first being deployed to Earth, this felt like a poor tactic to hook the audience in. The sudden cut to the modern day, seeing behaviours so very different by comparison is extremely jarring, there are conversations that don't have much context and it feels quite muddled. Add into all this the hints that there might be a love triangle between Sersi, Ikaris and Dane and I was about ready to really disconnect from the feature. Overall the film depicts romance quite well, but I found the dynamic between Ikaris and Sersi to be so devoid of emotion that it was hard to believe in. I also thought the way the film didn't really know what to do with the Deviants in the final act indicated that this antagonist could've been written a lot better than it was.

Kit Harington, who played Dane Whitman, feels like an awkward fit in this film; ou never reall feel the chemistry between him and Chan and it is extremely obvious he is just in the film to set up future appearances. Lia McHugh, who played Sprite, doesn't have the range to depict some of the more complex issues written for her role; McHugh's portrayal of unrequited love and frustration over how she looks younger than she is are tough themes that I don't think McHugh really managed to capture. Bill Skarsgård, who voiced Kro, is one of the more forgettable antagonists in the MCU; Skarsgård's depiction of a being who hates Eternals is quite a two-dimensional thing to watch.

Though Eternals takes a moment to get off the ground I found this to be an epic blockbuster with an impressive cast, truly Marvel's most impressive feat of late. I would give Eternals an 8.5/10.