Top Gun: Maverick

This review may contain spoilers!

 

Top Gun: Maverick is the direct sequel to the 1986 hit, Top Gun, and focuses on Maverick's return to the Top Gun Academy. In this feature Maverick is tasked with training some of the best young pilots to fly a bombing run that has a narrow margin for error and is likely to result in death for those running the mission. I loved how this film built on the story of the first one, even utilising familiar narrative beats, and then crafted beyond that. This is a feature that takes apart the character of Maverick and really rebuilds him into something nobler than I ever imagined him to be. This is a man who is still quite broken after the death of his former wingman, Goose; and more than this, he feels he has failed to be a surrogate father for Goose's son: Rooster. From the very opening of the film we see Maverick risk his life in service of others, but he is still pushing limits dangerously beyond this just to prove he can. But when Maverick is brought back to train at Top Gun and is confronted with training Rooster? Well it is like watching the man sober up immediately. He turns into a mentor that his students need, extremely unconventional but willing to guide them to survival by any means. I found seeing Maverick as a teacher to be something quite revelatory, it provided this whole new sense of meaning to the role that I had never seen in the first feature. Watching the man desperately trying to reconcile with Goose's son or promise Penny to be a committed partner shows just how much the role has matured over the years. Seeing Maverick run the simulation is one of the greatest scenes in the film, you see him fighting for his place in the air and for the lives of his students. The final act of the feature is the type of cinema filmmakers aspire to, it's a moment where the craft becomes art immortal. From a narrative perspective I never stopped feeling tense on the behalf of our protagonists, I was literally perched on the edge of my cinema's recliner chair. Every second cranks the pressure up and ultimately seeing the team swarmed by SAM missiles right after their death-defying climb? Well that was terrifying, quite simply put. The joy of seeing both Maverick and Rooster put their lives on the line for one another as a means of reconciliation was extremely heartwarming and the ensuing push by Maverick to exfiltrate and save Rooster carried this further. This film really evolves the character of Maverick while pitching the audience through a pulse-pounding narrative that will enchant audiences for as many years as the original did.

I also need to take a big moment to applaud the cinematography. I knew going in that so much of the aerial shots of/in the planes are practical but that didn't prepare me for how good this looked. The motion of these machines, how the intense G-force looks on the performers and even the intensity once we move into an aerial stunt is simply inspired. I loved the test flight footage we get at the start of the feature, it's possibly my favourite visual sequence of the whole thing. If you appreciate practical effects or fine camerawork in film then seeing this movie should be a no brainer. The work they have done here is a huge win for what we can do practically in cinema, not just develop digitally in post. Speaking of, beyond one sequence in the film I found the editing to have impeccable timing; the pacing on this film is sharp and I found it hard to believe I'd been in my seat for nearly two and a half hours. The score for the film is really powerful, Lorne Balfe crafts an epic that adds to the tense sequences while providing a more tender sound for those key emotional story beats. The soundtrack for the feature has some perfectly placed nods to the original film and the 80s in general.

 

Val Kilmer, who played Adm. Tom 'Iceman' Kazansky, gives a grade A performance in spite of his health problems at the time of filming; Kilmer and Cruise have such a deepfound respect for one another onscreen that I found their moment together one of the best in the film. Jennifer Connelly, who played Penny Benjamin, had some electric romantic chemistry with Cruise onscreen; seeing her as this bold single mother who took no nonsense made her such a compelling character to watch. Bashir Salahuddin and Charles Parnell, who played Wo-1 Bernie 'Hondo' Coleman and Adm. Solomon Warlock Bates respectively, are too Navy figures that provide a little more levity as a reaction to Maverick's antics; I liked that Salahuddin portrayed more of a caring friend to Cruise while Parnell was the stoic yet likeable military figure. Jon Hamm, who played Adm. Beau 'Cyclone' Simpson, was the stern exacting military figure Cruise often came up against; I loved seeing the grudging respect grow between these two men playing polar opposite characters onscreen. Monica Barbaro, who played Lt. Natasha 'Phoenix' Trace, is a real tough character is the face of a testosterone heavy environment; I enjoyed seeing Barbaro give no slack around any other character while also portraying a genuine friend to many of her co-stars. Lewis Pullman, who played Lt. Robert 'Bob' Floyd, is one of the funnier figures in amongst all of the trainees; I enjoyed watching the friendship between him and Barbaro's character grow. Glen Powell, who played Lt. Jake 'Hangman' Seresin, is one of the performances that really steals the show; Powell crafts a real arrogant yet undeniably talented pilot that you will love to hate. Ed Harris, who played Radm. Chester 'Hammer' Cain, is a genuine force of authority in his brief time onscreen; Harris wields his beauracratic power with an iron fist over Cruise's protagonist. 

However, the best performance came from leading protagonist, Tom Cruise, who played Capt. Pete 'Maverick' Mitchell. Outside of the occassional parody here and there it has been well over 30 years since Cruise presented the character Maverick. I don't really know how it just came back to it so effortlessly while also lending carefully constructed new facets to his character. The maverick we meet at the start of the film is intensely familiar, he's very cocky and willing to break the rules for the greater good or just because he plain wants to prove something. In a lot of ways Cruise paints Maverick as a figure who is still heroic but caught in a painful loop of old bad behaviour. Yet seeing this role take on training the aviators of Top Gun was fascinating; he has little give and flys in the face of what would be expected from a traditional instructor. I loved watching the pain and hurt Cruise shows Maverick carrying around over Goose's death and his percieved failure towards Rooster. The romantic chemistry between him and Connelly is superb, and the genuine honest way he comes to love is probably one of the more defining moments of maturity for Maverick. I also enjoyed the bond Mav still shares with Iceman, seeing the incredible sense of respect between this pair and the ultimate grief from our protagonist is powerful. One of the best performed scenes in the entire feature is when Maverick runs the bombing run simulation in service of his students, to prove it's their best chance of staying alive. It is a fierce selfless moment that defines the growth this role goes through. What Tom Cruise accomplishes in this film is impressive, he takes one of his most famous roles of all time and makes it better than anyone could have ever imagined.

This film does have a glaring issue that often rears its head in the first and second acts, it doesn't bridge time between the first Top Gun and this sequel very well. I think they needed to make the history between Maverick and Rooster a little more clear, the sense of loss around Rooster's mother needed to be established far sooner than it was. Stringing it out for dramatic impact wasn't a good enough excuse to craft hazy tension. More significantly I found the introduction of Penny to extraordinarily abrupt. In the first Top Gun she's mentioned in a throw away line as one of maverick's exes, beyond that we never get more of her than that. Yet in this film they talk about an established history constantly and past events as if we should know or understand what happened between them. If Cruise and Connelly didn't do such an impeccable job portraying the relationship I think this whole subplot would've been on thin ice.

Miles Teller, who played Lt. Bradley 'Rooster' Bradshaw, is just poor casting both as Goose's son and as an aviator; watching Teller play a more comedic version of his role in the final act was like watching a whole other performance from what he'd given up until that point. Jay Ellis, Danny Ramirez and Greg Tarzan Davis, who played Lt. Reuben 'Payback' Fitch, Lt. Mickey 'Fanboy' Garcia and Lt. Javy 'Coyote' Machado respectively, were some of the more leading student aviator ensemble that just felt like background roles; their moments with other members of the main cast just fell short of being noteworthy. Lyliana Wray, who played Amelia, didn't feel like an important addition to the Penny/Maverick romance subplot; Wray's role is treated as more of a plot device to keep Maverick honest than an actual role.

I never used to get the love for Top Gun, but after this? I get it, I get it now. I would give Top Gun: Maverick a 9/10.

 

The Northman

 This review may contain spoilers!

 

The Northman follows Amleth, a young viking prince who seeks to avenge the murder of his father at the hands of his uncle. What I really enjoyed about this film was the more grounded qualities, seeing a young boy transition into this hardened man who was entirely defined by revenge. Watching Amleth become initiated as a young prince defined by his blood ties was a great start and then seeing Amleth as an adult forged by intense battle and guided back to his uncle by fate was fascinating. I greatly enjoyed seeing him work through the complexities of living undercover as a slave, garnering loyalty to his uncle's family and then butchering those who became a target of his hatred. The final battle of the film was such a powerful moment too; now his uncle was fighting fuelled by rage, while Amleth had learnt to fight for more than this. In his final moments Amleth realised he couldn't win the battle and walk away, nor could he lose and let his uncle go on and murder his young family. Ultimately watching Amleth give his life in honour of his family rather than guided by blind vengeance was exceptional and made for a great closing ten minutes. One thing I really enjoy about Eggers is the evolution of his visual style as a director, the camera work in this one is really beautiful. He frames some very static shots that remind you why cinema is an art form in the best way possible, there is an intensity to how he shoots that captures every character's expression and inner monologue. Carolan and Gainsborough, who crafted the score for this feature, did something very transcendant here; the music used throughout is very primal and raw and fits Eggers provocative sense of direction.

 

Alexander Skarsgård, who played Amleth, made for a fine protagonist; the intense rage that boiled right behind his eyes was something potent and consistent. Nicole Kidman, who played Queen Gudrún, was an antagonist I found rather vile but in a well-performed way; Kidman treats her firstborn with such reprehension and loathing that you found her a character that was easy to hate. Ethan Hawke, who played King Aurvandil War-Raven, was a performance that really kicked the film off at full stride; seeing the reverent yet headstrong manner Hawke portrayed his Viking monarch was impressive. Anya Taylor-Joy, who played Olga of the Birch Forest, is an actress who has grown immensely in her craft since her last outing with Eggers; the way Taylor-Joy presents this young woman fighting fiercely against her captors is really well done. Elliot Rose, who played Gunnar, is such an excellent performance from a young actor; Rose has this stubborn and adventurous streak that makes him such a likeable character to watch. Willem Dafoe, who played Heimir The Fool, is entertaining as the crude Fool of Hawke's Viking court; but more intriguing was the wild intonations of religion and fate Dafoe delivers.

However, the best performance came from Claes Bang, who played Fjölnir The Brotherless. This performance was by far the most multi-faceted out of any of the cast. I loved seeing Bang right from his very stern if not noble introduction; he commanded the room and felt like a warrior born. Yet seeing Fjölnir turn from this stoic lieutenant to his brother to the man betraying him was such a great switch; you see the calculating mind whirring as he enacts the whole plot. Later in the feature when we return to Bang he's an almost gentler leader, a better one than Hawke's Aurvandil in how he engages with others. We see the callous way in which he holds power over his slaves, the love he bears his family and the fierce loyalty he shows his men. Bang's depiction of Fjölnir as a reverent worshipper is very well handled and depicted in a fascinating manner throughout. Seeing the rage and fear from this performer as his role starts to lose control and is confronted with loss in his own village is spectacular. The man puts everything into that final scene, showing a hollowed out force of hatred that mirrored Skarsgård's role perfectly.

I struggle with Robert Eggers as a director, he often presents his narratives in the style of grim folklore. Very fascinating in theory, but I often find he smashes this style alongside a bleak realism in a way that is extremely jarring. For instance, this film anchors itself quite firmly to the Nordic mythology; often twinning the path of the main protagonist to a preordained destiny or having his lover being able to pull down a gust of wind from the Gods. You go from very grounded battles to sudden depictions of a conspiracy of ravens saving the protagonist from his restraints or a life and death battle with a draugr that turns out to be a dream sequence. This film turns the way it wants to tell its story in many different directions but it feels like seeing something in a fun house mirror. There are two things going on; they' almost identical, but not quite. I also find that Eggers crafts his features around provocative violence, nudity or sexual acts in a way that often reads as vulgar for the sake of it. This is a feature that never earns those moments; watching Amleth slowly push his sword through the stump of a man's nose is shocking but it serves no point. Worse than this is we get acts like Amleth and his mother having this big charged kissing scene that is extremely uncomfortable and serves little purpose other than to get under the audience's skin. The film loses itself in trying to push out there scenes a lot; you lose all sense of good storytelling when you have grown men and child actors scrabbling around pretending to be dogs, while also burping and farting. I really felt the special effects looked out of kilter with the rest of the piece, particularly the animals that were scattered throughout looked terrible. The fight choreography is pretty poor the minute you're watching a scene that had more than two people; often the action felt very rehearsed and timed out. Nothing about those action beats felt real or earned, which is probably a big factor of why the violence had to look gory to divert from lackluster combat.

Gustav Lindh, who played Thórir The Proud, was an actor who often felt like he was racing to keep up with Bang or Kidman or Skarsgård; often Lindh would deliver a scene that really presented a commanding presence and the next he would lilt and not deliver as strongly. Oscar Novak, who played Young Amleth, was a young performer who really didn't introduce the main protagonist strongly; watching Novak really go a little over the top in his performance made the first act a difficult one to watch.

I've really struggled with Robert Eggers' style of film thus far, but The Northman really worked to show what he can achieve with a greater budget and cast. I would give The Northman a 6.5/10.

Senior Year

 This review may contain spoilers!

 

Senior Year is a comedy film following popular cheer captain, Stephanie, who falls into a twenty year coma after a serious cheerleading accident. When she wakes up and discovers herself now an adult, Stephanie is adamant she will return to high school and become the prom queen she was destined to be. This film works best when it really leans into how camp the concept can be; gags like Mr T not being as big of a celebrity as he was or seeing popularity on social media being compared to popular social cliques in high school. Beyond this I really enjoyed the way this soundtrack celebrated the 90s and often used this type of music for comedic effect.

 

Zoe Chao, who played Tiffany, was perfect as the classic high school bully all grown up; I love how scathing Chao presented her role and the real bitter emotions she let steadily rise to the surface over the course of the feature. Justin Hartley, who played Blaine, really felt like the bored ex-jock who missed his glory days; seeing Hartley portray a figure dissatisfied with himself and his marriage while crushing on his old high schoo, girlfriend was well performed. Jade Bender, who played Brie Loves, was one of the more out there yet creative characters in the cast; Bender's over the top take on an influencer who is nice on the surface but less so on the inside was quite unique. Avantika and Joshua Colley, who played Janet and Yaz respectively, were really vibrant personalities for Wilson to play off as her high school friends; this pair struck some great comedic hemistry that served them well. Brandon Scott Jones, who played Mr T, was a real scene stealer throughout the movie; Jones and Wilson clearly play off one another well and their first scene together is one of the funniest the film has to offer.

However, the best performance came from Mary Holland, who played Martha. I've only seen Holland in a couple of features before this one, but she has such a knack with comedic roles while lending a tremendous amount of heart to them. Seeing Martha as an adult is fairly jarring at first but you come to see the joy she has at realising her friend is awake and back in her life. In her own way Holland plays Martha as being quite cautious and fearful of being made to feel like she did as a teenager all over again. It's a really thoughtful acting choice and one that almost immediately set her apart from the rest of the cast. I love how light and friendly Martha is, and how passionate she is about making all of her students feel equal. There is a dramatic moment in the film in which Martha comes out to Stephanie and I honestly found that to be some of the most convincing emotion that's delivered. Holland really makes you understand how lonely her character felt growing up, and the divide between her and the character of Stephanie as friends because of the secret she used to carry with her.

It has been an age since Rebel Wilson's last major film; a little over two years since she starred in the infamous Cats. It is disappointing to see her return so out of practice attached to one of the most shallow comedies of 2022. The film deals with themes of popularity and high school social dominance in a way that is very outdated by storytelling standards. Their way out of this? Well it's to take a cheer captain with questionable ambitions for popularity, put her in a coma and be as rude and crude as she likes in 2022. There is nothing creative about this idea, in fact if they wanted to get creative about it we would be watching a comedic take on a coming of age film. As it is most of this film is either younger Stephanie parodying the mannerisms of Rebel Wilson or Rebel Wilson parodying what she thinks a popular 90s teenager would sound like. The jokes often feel a bit cringeworthy and the dialogue leaves you scratching your head and questioning if anyone has ever really talked that way in their lives. Senior Year is obsessed with mocking people who stand for environmental causes, or promoting consent in relationships. It hates the fact you can't use the word retarded or gay as a joke or insult anymore. The girl who incites Stephanie's accident is never punished for that and there is a male character who comes off as quite predatory and even incestuous in one scene. It's a script that really lacks maturity and likeability; there aren't many roles you'd relate to and it just feels so out of touch with modern audiences. For some reason if the film ever feels like it's languishing a bit? It tosses out a half-assed musical number just for the hell of it. Alex Hardcastle has a visual style that lacks flavour, the shots tend to be uninspired and some are downright unflattering. The editing also cut quite awkwardly and set a very jarring pace. The score for Senior Year sounds as if it was made by an amateur; the villainous theme they started doing for Tiffany was absolutely generic and uninspired.

Rebel Wilson, who played Stephanie, really struggles as the lead for this film; Wilson never manages to convey much genuine emotion and a lot of her performance portraying a teenager feels like the worst kind of parody. Angourie Rice, who played Young Stephanie Conway, often comes across feeling like she's trying to capture Rebel Wilson and not actually portray Stephanie; Rice's line delivery is also pretty bad with a few scenes having a very steady yet emotionless tone. Molly Brown, Zaire Adams and Tyler Barnhardt, who played Young Martha Reiser, Young Seth Novacelik and Young Blaine Balboa respectively, are all rather forgettable as the young counterparts; they do little with Martha and Blaine while Adams and Rice really have no romantic chemistry to hint at. Sam Richardson, who played Seth, really tries with this character but it just doesn't fit him well; Richardson can be funny and charming but he crumples when any scene asks him to get too serious or diverse with his emotions. Ana Yi Puig, who played Young Tiffany Blanchette, gives the most stereotypical high school popular bully you'll ever see; her only guiding character point is her dislike of Rice's Steph which felt fairly unfounded. Chris Parnell, who played Jim Conway, tends to go all in on scenes he really doesn't have to at all; I found Parnell's ability to deliver a good comedic line extremely hit and miss. Jeremy Ray Taylor, who played Neil Chudd, felt like the awkward extra character in the friend group established between Wilson, Avantika and Colley; you often see him working hard to make his screen time count but he seldom achieves anything with these moments. Michael Cimino, who played Lance, is a rather weird character who only really exists for shock value; Cimino is here for comedy and doesn't play a role which would be fine if he'd managed to draw some laughs. Alicia Silverstone, who played Deanna Russo, was a cameo role that gave nothing to this film; hearing Silverstone really bang the film's theme over my head was one of the weakest scenes in the feature. Lucy Taylor, who played Lydia Conway, was this tragic figure that felt as if she'd wandered into the wrong script; the sad Mum with cancer part just didn't buy this film back any sort of dramatic credibility.

This film tries really hard to win you over, but there's no forgiving it for making me want to gag while listening to Celine Dion's 'Power Of Love'. I would give Senior Year a 3.5/10.

Doctor Strange In The Multiverse Of Madness

 This review may contain spoilers!

 

Doctor Strange In The Multiverse Of Madness is the second Doctor Strange film and the 28th film in the Marvel Cinematic Universe. In this feature Doctor Strange must protect young multiversal traveller, America Chavez, who is being hunted by a corrupted Wanda Maximoff. Wanda hopes to acquire America's power so that she may reunite herself with her lost children, even if doing so will cost America her life. There are superhero characters in this film, but our leading performances from both the main protagonist and antagonist shows us how much a hero can lose by compromising their values for what they percieve to be the greater good. Wanda's arc in particular is really fascinating because this is a character who has famously lost and sacrificed everything over and over again for the greater good, she's at a point in her journey where she's broken and actually wants to take something for herself. So, with the catalyst of being corrupted by the greatest evil magical artifact in the Marvel universe, we get to see the heroes face an unhinged and villainous Scarlet Witch. It's truly impressive to see the unbridled power Wanda has accumulated, and the horror elements used throughout to heighten how terrifying this notion is is very well done. By contrast, we see Strange grappling with his notion of doing the best possible course of action to win, no matter the cost; which is a fascinating character direction given Strange's role in Infinity War, Endgame and Spider-Man: No Way Home. Throughout the feature Strange is tolded he is the one who has to make the final decision or wield the power in his relationships with others, even if his intentions are good; seeing him ultimately learn to let go and place his trust in others was a great character moment for Strange. Seeing the multiverse as a setting was really thrilling, this film opens up the possibile threats having access to such a thing could present while presenting some realy exciting cameos that are going to leave fans very happy. The visual effects throughout almost the whole feature look exceptionally good; I personally loved the siege of Kamar-Taj and the battle with the Illuminati for the best special effects presented. Danny Elfman's score really nails a range of emotions across the board from thrilling to terrifying, with a spectacular music-based fight scene toting Elfman's spectacular prowess.

 

Benedict Cumberbatch, who played Doctor Stephen Strange, is perfect as the dry-witted protagonist for this film; Cumberbatch plays strongly with Strange's fear of relinquishing control throughout this film and also doing what is right by any cost. Chiwetel Ejiofor, who played Baron Mordo, is a pleasant face to see in a Doctor Strange film again; seeing Ejiofor take a different approach to showcasing an opposition to Cumberbatch's Strange was quite fun. Benedict Wong, who played Wong, is one of the best characters to have come out of Doctor Strange and this sequel is no exception; Wong plays the Sorcerer Supreme with a sense of severity while also leaping into action sequences with a rallying intensity. Xochitl Gomez, who played America Chavez, is a really fresh new role in the MCU that I'm excited to see; Gomez has to play a young woman who feels like she has lost everything and is perpetually on the run which she brings to life brilliantly. Patrick Stewart, who played Professor Charles Xavier, was a delight to see back in this role; Stewart has such a gentle way of presenting Xavier that works brilliantly and his last scene in the film is a stand out. Hayley Atwell, Lashana Lynch, John Krasinski and Anson Mount, who played Captain Carter, Captain Marvel, Reed Richards and Black Bolt respectively, were exhilarating to watch as the latest superhero team to debut in the MCU; Krasinkski in particular really has my interest as the soft-spoken yet highly intelligent leader of the Fantastic Four.

However, the best performance came from Elizabeth Olsen, who played Wanda Maximoff. It is hilarious to me that I was unimpressed with Olsen's debut as Wanda in Age Of Ultron, because now she's probably one of the most spectacular performers in the MCU. Olsen flaunted her raw ability and strength as a leading protagonist showcasing her character's trauma in WandaVision. This film shows what happens when Wanda doesn't restrain herself anymore, when corruption sinks in and she uses her powers for ill intent. Olsen is terrifying in numerous scenes, often feeling entirely unstoppable and embodying elements of a horror film antagonist on more than one occasion. She is so doggedly determined to fulfil her goal at the expense of anything or anyone willing to stand in her way. This form of uncompromising will and power is an aspect of Wanda we saw in her Disney + show but minus that good aspect of herself keeping her in check. However, Olsen still manages to find her way to grounding Wanda and humanising her throughout it all; she is so desperately in need of her lost children that she tries anything to reunite with them. She carries this loss of family around like a wound, which is something that her character has experienced in almost every Marvel project she's been in. It felt right for Scarlet Witch to step into the role of an antagonist, and Olsen brought her absolute A game.

As it stands this is Sam Raimi's best directorial work in years, but the things that don't work in this film come from a very outdated visual style clearly stemming from him. The cinematography often looks good for the big action/chase set pieces but outside of that is some very questionable visual choices; one of my glaring pet peeves is how shots abruptly zoom in on characters as they speak for dramatic effect. We see filming like this often used as parody these days, the use here is very disruptive to the film. There is a lot of cutting back and forth in a rapidfire manner within scenes, particularly in the final act which wasn't great. I also felt like the editing team maybe was taking all their cues from the 90s/early 2000s because the fact I had to sit there and watch an honest to God circle wipe in a multi-million door film was awful, as was the numerous fade transitions that washed over one another. From a narrative position this film was placed as more of an adventure; the protagonists ran from the antagonist, had some fights on the way and concluded with one big final confrontation. But the issue with this formula was that it ran fast, it felt like we were always in motion throughout the narrative and the significance of our characters were often placed as a sort of secondary priority.

Rachel McAdams, who played Dr. Christine Palmer, has been radically underused throughout her appearances in the Marvel universe; McAdams feels out of place in this film and lingers as more of a tool for character motivation than an engaging character in herself. Sheila Atim, who played Sara, is a lieutenant role to Wong's role that gets a little more screen time than is really necessary; I thought the rapport and almost romantic hints they established between her and Wong were never earned at all. Julian Hilliard and Jett Klyne, who played Billy and Tommy Maximoff respectively, give the most generic sweet and innocent children performances you have ever seen; any direction that made them half interesting in WandaVision is very much gone in this film.

I loved the adventure this film was and the unique horror elements; yet ultimately, the film is held back by a director with an outdated visual style. I would give Doctor Strange In The Multiverse Of Madness a 7.5/10.

The Survivor

This review may contain spoilers!

 

The Survivor is a biopic which documents the life of Auschwitz survivor and boxer, Harry Haft. There have been a lot of stories that have dealt with the Nazi concentration camps and the treatment of Jews over the years, each has given perspective on more horror than can really be imagined. This film presents Haft's story which is something I was entirely enraptured by. The film cuts between his life as a boxer in America and black and white flashbacks of his life in the camps. Seeing Haft's life in the camps is the most compelling part of this narrative and I was extremely moved by it. Haft is detailed off labour duty after assaulting a guard in defense of his friend; he is retasked by an Oberführer to fight against other Jews for Nazi entertainment and gambling. The loser of these bouts was killed and Haft was forced to kill friends and people he knew in order to survive. I found the horror of this deeply unsettling, there is one moment in the film in which he fights a former professional French boxer in excess of 18 rounds. The conversations he had with Oberführer Schneider around the ethics of what the Nazis were doing to the Jews were some of the most compelling dialogue exchanges in the film; hearing the delusions these monsters convinced themselves of to carry on doing what they did was frightening but masterfully penned. Seeing Haft motivated to box in order for his name to get widespread in the hopes in his former partner, Leah, might read he is alive is extremely moving. I felt this character motivation was a great line that hooked through the whole feature and was fully realised in a very impactful final scene with Haft and Leah. Seeing the way war and the camps had permanently affected Haft's physchology is saddening to watch, and even more so when you see the generational impact that has between him and his children. Ultimately, it is a story that considers Haft in every way that matters and shows that so you are always informed and emotionally connected to the man's journey.

 

Barry Levinson commands his film with a powerful visual direction that I think highlights the heavy contrast between what is suffered in the concentration camps and the life Haft lives in America. The black and white style for the scene in the camps makes everything so stark and intense, scenes in which fights happen here look different and become more visceral. When we snap back to modern day everything feels a lot less commanding and intense, the colour almost draws you into a more relaxed stupor. Levinson's cinematography is unrivaled, the way he captures the inward intensity of PTSD and feeling like a traiotr in amongst your own people could only ever have been managed from his claustrophobic way of shooting those scenes. Also both the French Heavyweight scene and the Rocky Marciano fight scene are immediately some of the most memorable fight scenes I've watched in a boxing film. I also need to commend Hans Zimmer's work to craft yet another reflective and poignant score that uniquely underpins the struggle Haft lives through.

Billy Magnussen, who played Schneider, has found one of his best roles in years within this film; Magnussen strolls through the feature with a confidence and self-assurance that is deeply disarming. Vicky Krieps, who played Miriam Wofsoniker, is a very tempered and calm role which is a nice counter to Foster's gruffer figure; I found Krieps to present a path to healing with a kindness and affection that was very subtle and moving. Peter Sarsgaard, who played Emory Andersen, manages to both portray a sleazy figure and someone you couldn't help but like; Sarsgaard feels like a predator seeking out prey the way in which he portrays his reporter but has a compassionate streak to him too. Saro Emirze, who played Peretz Haft, is much more cynical figure than Foster's Haft; I loved the brotherly bond between these two and how they communicate and reason with one another. Danny DeVito, who played Charley Goldman, is fantastic in this mentor figure; he has a real likable no nonsense approach to the way he coaches that I really enjoyed. John Leguizamo, who played Bill 'Pepe' Miller, had a lot more levity than DeVito's coach which made for a nice difference; seeing Leguizamo be more energetic and lighter with Foster in the ring led to some very joyful scenes. Dar Zuzovsky, who played Leah Krichinsky, is such a lovely tragic figure in the film; the scene in which her and Foster's roles reunite is beautiful and one of the best final scenes in the film. Laurent Papot, who played Jean, is a role that will leave you feeling hollowed out; the scene in which Papot begs Foster's Haft to kill him left me absolutely speechless. Paul Bates, who played Louis Barclay, was a voice that really lent an important perspective to the film; the scene in which Bates talks about the buffalo soldiers and his character's brother is incredible.

 

However, the best performance came from leading protagonist, Ben Foster, who played Harry Haft. Foster portrays a man who speaks little but if often blunt and direct to the point. Haft is a hardened figure who has little time to mince words after what he has seen, often if he has something to present it is nothing less than the clear cut truth. Foster's voice and accent work throughout is incredible, I think he nails that Polish dialect and manner precisely. Watching a role with such determination to find the one he loves is deeply moving and pushes himself through some monstrous scenes in order to achieve his goals. I also loved the way in which Foster threw up walls and very reluctantly brought them down to show the trauma his character had to heal through. One of Foster's more compelling performances, and masterfully executed.

The issue I often found with The Survivor is how it cut to the modern day and had a lot of very inactive scenes. There are moments in which soft dialogue exchanges happen, or Haft is considering his next step in the America storyline. The consequences of this is that the tension really bleeds out of the film because we've just witnessed a concentration camp scene, which often sets the bar for quality in the feature. I also thought the choice to use some more classically inspired fades and transitions was a choice that affected the style of the film in a negative way, sometimes making the black and white styling less intensive that it often was.

Kingston Vernes, who played Alan Haft, is clearly not the strongest young actor; he delivers dialogue in a very rigid manner and isn't comfortable with the more complex ideas in the script.

A film that really openly and honestly lays bare the trauma from one of the worst moments in human history. I would give The Survivor an 8/10.

 

The Unbearable Weight Of Massive Talent

This review may contain spoilers!

 

The Unbearable Weight Of Massive Talent is a comedy satire about Nicolas Cage, in which he is struggling with his acting career in his later years and accepts an extravagant payment to attend a superfan's birthday in Majorca. Unfortunately for Nic, his fan is associated with a known crime syndicate and the struggling actor must join forces with the CIA to bring his newfound friend down. I was immediately drawn to how they characterise Nicolas Cage in this; he's so particular and weirdly refined in his thespian ways. Yet he is also so desparate to fulfill his career trajectory, while unabashedly cynical at the collapse of his career and personal life. The Cage we are given in this film is hilariously consumed by himself, to the point where the best scenes in the film are a CGI'd young Nicolas Cage hallucination berating himself for losing his way multiple times throughout the feature. I found the relationship between Nic and Javi to really be the heart of the film, they have a lot of chemistry together and play off one another exceptionally well. Mark Isham weaves hilarity with the music for Massive Talent, building these tense and gripping pieces to really heighten the melodramatic comedy layered throughout.

 

Nicolas Cage, who played himself/Nicky, is remarkable as this desperate for success thespian take on the actor; I especially loved the younger Nic Cage hallucination and found those scenes some of my personal favourites. Ike Barinholtz, who played Martin, is actually pretty funny as the constantly frustrated CIA operative; Barinholtz really comes at his part with a lot of energy making his performance funnier because it was a different tone to what the leads were doing.

 

However, the best performance came from Pedro Pascal, who played Javi Gutierrez. When we meet Javi he is this impassive figure, one whom you don't really know hpw he's going to interact with Nic Cage. That said, watching Pascal immediately break this facade and turn into a gushing fanboy is hilarious and brilliant. He tiptoes hesitantly around Cage with this sense of reverence. I love how tightly Pascal and Cage work to build up the chemistry between their roles; with Javi constructing pretend acting scenarios to lure Cage into being more at ease. Watching Pascal embody all this nervous energy as his role juggles writing a masterclass screenplay, befriending his acting idol and keeping his criminal cousin content makes him the most amusing character of the feature. I loved seeing Javi breakdown and refuse to betray Cage, instead very nearly sacrificing himself to save his hero. It was a fun role and Pascal really committed to every facet of it.

This is a film that often pushes itself as being smarter than it is, but this never really proves true. Throughout the film the story casts winks at the audience indicating the film script our two protagonists are writing mirrors the events as they unfold in the film. But really this sort of self-referencing humour has been tried out and done better; not just generally, but in films Nicolas Cage has already starred in! Hello Adaptation anyone? The film tries to use this witty means of telling the story as an excuse to reduce a satire film about Nicolas Cage's acting career to little more than a buddy comedy in which he teams up with the CIA to take down a criminal organisation all while repairing Cage's relationship with his daughter and ex-wife. The core comedy elements often fail to draw genuine laughs, this isn't a cast built for comedic delivery which is the biggest thing that lets the film down. This is the sort of film that quietly shuffles from joke to joke and when you do land on one you'll probably quietly muse to yourself how witty it is. I also think the shell of parody in relation to Nic Cage is less than subtle, it's a very hard sell that Cage authentically acts like this in general. They probably would've found their way to something good if they'd grounded him in something a little more convincing. The visual style of the film is remarkably bland, often using simplistic or generic shots to craft a rather mundane Hollywood comedy. I also felt the editing didn't help at all with the extensive pacing issues, often cutting abruptly or lingering on shots for way too long without ever finding the middle ground.

Tiffany Haddish, who played Vivan, really looks disinterested and not at all engaged with her part in the film; Haddish never really delivers a funny line and she is far from convincing as a CIA agent. Sharon Horgan, who played Olivia, has absolutely no chemistry with Cage in this film; the pair are meant to be former husband and wife but you don't even feel like there's history there. Paco León, who played Lucas Gutierrez, is probably the most generic antagonist they could've conjured up for this film; León brings an aggressive Hispanic mob man who is only ever really guided by violent action and little else. Neil Patrick Harris, who played Richard Fink, is really only in this film to deliver exposition and he does quite a bland job; this is such a disengaged role that it's easy to see why Harris doesn't put a lot into his scenes. Lily Mo Sheen, who played Addy Cage, suffers from the same lack of engagement with Cage that Horgan does; I also really couldn't stand Sheen's angst-ridden portrayal of feeling unable to connect with her father. Alessandra Mastronardi, who played Gabriela, feels like a minor role that is pushed awkwardly into the script; Mastronardi and Pascal are paired as romantic partners but they share no chemistry whatsoever.

Nicolas and Pedro Pascal headline with immense chemistry in what is an otherwise mild-mannered comedy with serious pacing issues. I would give The Unbearable Weight Of Massive Talent a 4/10.