Napoleon

 

This review may contain spoilers!

 Napoleon is a biopic about the life of Napoleon Bonaparte, both his rise to power and his inevitable fall and subsequent demise. The film also serves as a peripheral examination of Napoleon's turbulent relationship with Empress Joséphine. Overall, the film really succeeds when it snaps out to the big scale moments, Ridley Scott does perfectly with crafting a sense of gravitas in these moments. You observe all the pieces move into place before suddenly toppling into a scaled battle or a turbulent coup, such as the Coup of 18 Brumaire. I was really impressed by how massive engagements at the start and middle of the film were presented; the siege of Toulon was an absolutely impressive way to begin while the battle of Austerlitz is perhaps my favourite scene of the feature. The manner with which the film concluded with the battle of Waterloo and Napoleon's advance into Russia before that were solemn moments of defeat and despair exquisitely portrayed through set pieces, imagery and extras performance.

 The real strength of this film is how incredible it looks from start to finish. This is a film that is masterfully shot and capture the large sense of scale evoked by practical effects, massive sets and large extra performances. Ridley Scott brings a sense of impression when it comes to capturing history, it both awes you and pulls you right into the big moments. The way this film was cut together really kept a fast visual pace; quite impressive given the long runtime. I also thought the score for this feature was masterful, it really places you in the setting but gets deep into those moods of sorrow and remorse and obsession that are so present throughout.

 Ben Miles, who played Caulaincourt, was a slow-moving yet wise political figure; I really appreciated the calculating way Miles delivered dialogue and navigated his scenes. Edouard Philipponnat, who played Tsar Alexander, was quite interesting to watch as a young Royal with such arrogance who lost a lot of standing; watching Philipponnat delicately step through Napoleon's eccentricities was a great moment to watch. Sinéad Cusack, who played Letizia Bonaparte, was another figure who manipulated and played the game very well on-screen; watching Cusack mother but also control Napoleon made for an interesting figure. Matthew Needham, who played Lucien Bonaparte, was a real quiet serpent in the grass; watching Needham work as an arduous supporter of his on-screen brother in scenes like the Coup was extremely memorable.

 However, the best performance came from Paul Rhys, who played Talleyrand. This may not have been a major role in the scope of the full production but almost from his first scene I was captivated by Rhys. Talleyrand is presented as this spindly gawkish figure who has a keen intellect that allows him to run circles around political allies and enemies alike. I loved how Rhys quietly worked a scene, he was never the loudest character in a scene but there was never much doubt he held control or power in a conversation. Rhys crafted a man who knew how the system worked and who worked it very well. I only wish he was in this feature so much more.

 I spent a lot of this film wondering at the paradox of how a feature could be so long and yet still feel like it was rushing through. The entire film felt like a collection of highlight snippets from Napoleon's life, with very little purpose or direction throughout. The film starts by abruptly giving us an already established Napoleon before ending with a title card inexplicably making out all of his campaigns and battles as wasted life. The film rarely knew what it wanted to say thematically and this confusion really made the film a chore to engage with. Any time the film tried to know or understand Napoleon too intimately it became a bit farcical; with over-exaggerated moments where the protagonist clowns about like a bad impression of Napoleon or a wretched examination of Napoleon's love life that feels like it was written by an amateur film school student. This film discusses Joséphine's inability to build an heir and Napoleon's lust for her with barely any subtlety and the intent to sell the sex of it rather than the story.

 Though I felt the production and visual storytelling elements were the pillars upon which this film stood, there were a few small issues. The transition work really needed to be toyed with some more, the visual motif of fading to white really didn't mesh nicely with an otherwise well-cultivated aesthetic.

 Joaquin Phoenix, who played Napoleon Bonaparte, was really all over the show as a protagonist; Phoenix had a lot of potential but he was too irregular and wild with his performance to really accurately capture this historical figure. Vanessa Kirby, who played Joséphine Bonaparte, was really quite wasted in this film; watching Kirby monotonously deliver vapid dialogue resulted in a rather flat leading performance. Tahar Rahim, who played Paul Barras, is very much a character who falls into the background not long after we're introduced to him; Rahim's dull exposition heavy delivery was hardly the way to make an impression. Rupert Everett, who played Arthur Wellesley, was so stoic and bland in this role that he made for a disappointing final act antagonist; pitting our lead against a performance that was comfortable fitting such a stereotypical display of old British rigidity was a let down.

 Despite one of the weaker leading casts Ridley Scott has ever assembled, this film is a definite testament to his ability to capture historic epics. I would give Napoleon a 6.5/10.

The Hunger Games: The Ballad Of Songbirds And Snakes

This review may contain spoilers!

 

The Hunger Games: The Ballad Of Songbirds And Snakes is an adaptation of Suzanne Collins' book The Ballad of Songbirds and Snakes and a prequel to the original film/book: The Hunger Games. This film takes place during the tenth annual Hunger Games, and follows a young Coriolanus Snow who is desperately trying to retain the status of his Capitol family name. All of his future hinges on mentoring the reaped District 12 girl, Lucy Gray Baird, for the Games themselves. Yet when his own feelings for Lucy Gray turn to romance it will be down to Coriolanus to choose between status and love.

I actually read the book this film is based on earlier in the year and as of writing this review it is currently my favourite book of the year, and quite possibly my favourite in the Hunger Games series. The strength of this novel is just how much is has to say thematically. On the surface there are some broad themes about the fallout of war, and how both sides are impacted by conflict but also how are views are shaped before and after conflict. This film very pointedly looks at how in these moments of conflict, humanity is stripped away and we are left with this tooth and claw push for survival. The narrative posits the question of if this is what humanity is at its core or if we are better? But I liked the more personal thematic narrative here around Coriolanus Snow, a young man who is presented as a protagonist we want to root for because he is falling in love and often does actions we feel are good. But there's another side to this; it becomes more and more apparent that Coriolanus Snow is a selfish individual guided by his own ambitions. He does good deeds often for his own benefit, while his love for Lucy Gray is a sense of ownership or entitlement. Snow often feels that because he is helping Lucy Gray survive the Games that she owes him in response. Watching him fully break down and reject love to become the man who clutches at power we see in the earlier films is one of the most well-rounded character arcs in film this year. More than this, the way the film bolsters worldbuilding with a deep dive into District life, the Jabberjay/Mockingjay backstory, how the Games came to lean further into the spectacle, Lucky Flickerman and Snow's perception of Katniss and 'The Hanging Tree' song is quite impressive.

Having Francis Lawrence back directing a Hunger Games feature means there are some incredibly significant visuals that hearken back to the originals while also spotlighting the themes of this series strongly. The framing can be very grandiose and bold at times, often illustrating the story as strongly as the written script tells it. The visual effects are up to the challenge too, the arena sequences look stunning and the design for the Jabberjays and Mockingjays was really well captured. The score is powerful and dramatic, bearing a lot of power to the dramatic tension of the games and the events after. The real musical strength of the film is Rachel Zegler's singing as Lucy Gray Baird; there are some serious ballads here that cut to the core of some character relationships or foreshadow the events of this film and future (past?) films.

 

Tom Blyth's work as central protagonist, Coriolanus Snow, shows an incredible range and capacity to lead a production like this; Blyth keeps all of Snow's vulnerabilities a fraction away from breaking through which I found fascinating. Josh Andrés Rivera, who played Sejanus Plinth, is a wild performance who really demands justice at every turn; the way Rivera portrays Sejanus as growing more hollowed out by the Capital and disgusted by the actions he is witness to is wonderful. Viola Davis, who played Dr. Volumnia Gaul, feels like one of the most impressive antagonists to come out of the Hunger Games series; Davis brings a really dark menace that depicts Gaul as a sort of shadowy puppet master. Peter Dinklage, who played Dean Casca Highbottom, gives one of his finest performances in a decent while; Dinklage crafts a man consumed with righteous hatred and a guilt that has destroyed him years ago by the time the audience first meets him. Mackenzie Lansing, who played Coral, is one of the more compelling minor antagonists of the film; Lansing depicts a rageful Tribute who is violently intent on winning the Hunger Games. Dimitri Abold, who played Reaper, is a character with not a lot of screen time but his impact is very profound; watching Abold grieve and stoically portray defiance was extremely moving.Jason Schwartzman, who played Lucky Flickerman, gives Stanley Tucci's Flickerman a run for his money; Schwartzman has masterful comedic timing unlike anything else in this film. Burn Gorman, who played Commander Hoff, plays the foul-spirited militant type well; Gorman's portrayal of support out of spite was a moment I thought really stood out.

However, the best performance came from Rachel Zegler, who played Lucy Gray Baird. This is the role I was most excited to see in some ways, she was the most unique and fascinating character in the books. In a year in which Zegler really didn't bring much to her Shazam: Fury of the Gods antagonist, I wasn't sure what to expect; this is a performer who still feels like a relative newcomer. But almost immediately Zegler becomes Lucy Gray in a way that captivates and surprises. I have already mentioned the power behind her singing ability; Zegler is a natural when it comes to ballad performance and lends a haunting quality to her more melancholy numbers. Yet what I loved was the ferocity she brought to this character, Lucy Gray is a young woman who rarely openly shows weakness and often portrays herself with a fiery and boisterous temperament. Zegler walked those moments where she had to let her character's fear creep past her facade very finely. I loved that this character felt so embattled, yet full of life. She was shining and bright, but also surprisingly cunning. She was a performer but a survivor. She fell in love, but she couldn't trust that love. Zegler played that last part probably best of all.

This is a very tricky character-driven narrative that loses some of the subtlety you need in such a feature. The film struggles in the first act with making the audience really fall for Coriolanus Snow, we get the sense he's not the prospective protagonist the movie wants us to believe he is. This does mean the final betrayal in the third act, while very well orchestrated, lacks the gravity or surprise of the moment. There are a lot of central characters and a few background narratives do get lost in the scale of everything; Sejanus could've been examined more early on alongside some of Criolanus' other peers. 

While I really loved Francis Lawrence's style of visual storytelling, I did find the more dialogue intensive scenes to be a little ugly, particularly when it came to close ups. The close up shots often felt poorly framed and pushed in uncomfortable close in a way that rarely served purpose.

Fionnula Flanagan, who played Grandma'am, really is quite a muted presence in this film; Flanagan doesn't get to make the lasting impression you'd expect from a Snow family member. Hunter Schafer, who played Tigris, is quite a one note performance; Schafer brings the doting quality of Tigris to life in a way that feels quite artifical and insincere. Ashley Liao, who played Clemensia Dovecote, is framed as a classmate who is close to Blyth's protagonist but her screen time is really wasted; the film poorly utilises Liao who is really propped up with potential. Lilly Maria Cooper, who played Arachne Crane, really struggle with her line delivery; Cooper whispers or chokes out most of her dialogue which really undercuts her role's presence in the film. Nick Benson, who played Jessup, is a role that fades into the baackground a bit too simply for all the importance placed on him by the script; Benson's portrayal of his character falling to sickness feels a bit unconvincing at times.

 

A strong reminder why The Hunger Games series took the world by storm with its incredible storytelling and talented cast. I would give The Hunger Games: The Ballad Of Songbirds And Snakes an 8.5/10.

The Marvels

This review may contain spoilers!

 

The Marvels is a sequel to Captain Marvel (2019) and is the 33rd film in the Marvel Cinematic Universe. In this narrative we see the remnants of the Kree use an ancient alien relic to steal resources across the galaxy in an effort to save their homeworld. The only ones standing in their way are Captain Marvel, Monica Rambeau and Ms Marvel; a trio of light-based superheroes who have developed the unfortunate ability of swapping places when they use their powers. 

This is a cosmic adventure flick that has nothing but an intent to be fun at its very core. The entire time I watched this film I was so impressed with the genuine energy behind it, the characters all bounced off one another well and the plot was allowed to be wild. The balance of humour and genuine character connection was there. In a film rife with a scene dedicated to alien kittens we also had a very devastating moment in which our heroes could only save a handful from an alien colony. The film juggles tone nicely and this is maintained by the chemistry from the leading trio. Carol, Monica and Kamala are a trio that work extraordinarily well together on screen. These are some very distinctive personalities that just mesh and fire dialogue off one another superbly. I was very impressed with the action and effects beats in the film but the moments in which these three were just hanging out and learning to get along was even better.

The cinematography looks vast and impressive often, particularly in the final confrontation sequence and the way scaled sci-fi battles are captured. I also found the quick, in-motion shooting kept the brisk pace quite lively from a visual perspective. The visual effects looked absolutely great, particularly the details of the alien locations and the epic action set pieces, my personal favourite was Quantum Bands Dar-Benn. The score for the film really heightened the scale of the adventure and the soundtrack was absolutely energetic and really joyful; 'Memory' from the Cats musical was an incredibly hilarious surprise.

 

Brie Larson, who played Captain Marvel, leads this film with exceptional talent; Larson has always been perfect for Carol and I enjoyed seeing the character get to come out of her shell a little more in this one. Teyonah Parris, who played Monica Rambeau, is quite a fun lead who steps into that uninitiated hero space well; Parris really broachs the hurt and conflict between her and Larson's characters well. Samuel L. Jackson, who played Nick Fury, is brilliant as this role and continues to keep pace with the action; watching Jackson lean Fury into a more jovial "I'm getting too old for this shit" direction is a lot of fun. Gary Lewis, who played Emperor Dro'ge, may only be a minor role in this film but kept the Skrull plot quite interesting; Lewis played his role as a ruler completely hollowed out as his people who have already lost so much continue to lose more. Zenobia Shroff, Mohan Kapur and Saagar Shaikh, who played Muneeba Khan, Yusuf Khan and Aamir Khan respectively, are incredible as an on-screen family unit; there is no performer here who steals the limelight from the others because these performances blend and stand strong alongside one another so notably. Tessa Thompson, who played Valkyrie, had a surprising scene that really worked quite well; I think this scene left such an impression because her and Larson have such notable chemistry with one another.

However, the best performance came from Iman Vellani, who played Kamala Khan. This is a performer who may be new to the acting world and to the MCU, but she makes her mark here in a colossal way. Vellani's first major gig was on the Ms Marvel series where she really started discovering the role and how she wanted to capture it. But here she comes to life. Ms Marvel is almost immediately the heart of the feature from her very first scene. Vellani is so full of passion and energy that she grips you every time she is onscreen. But more than that, she really embodies the enthusiasm and optimistic approach of her character that you can't help but grin from ear to ear every time she cracks a line. Vellani also proves she's got the range to really hit home with some of the heavier stuff too; expressing a great scene of outrage in which her character is forcibly told she cannot save everyone. If this is what we can expect from Vellani going forward I can only hope she continues to appear in bigger and better Marvel projects.

The problem with blockbuster Marvel movies that I face as we go forward is that they are definitely becoming less accessible to movie audiences. I'm keeping up as a long time fan of this franchise but I can't imagine most people would follow all the references and cameos scattered throughout this feature. For that reason I grew disappointed that the film kept having to divert to release a whole bunch of exposition that really interrupted the flow of the narrative. There also were a few moments the film attempted to get a bit experimental and not all of these risks paid off. I also wish this film decided to slow down a little. This was an enjoyable story with an even better cast; but the plot would have actually achieved more if it took more time to sit in the emotional weight of a scene or allowed for more dialogue-intensive performance across scenes. I also felt the movie was a bit quick to start and also rushed to the end teaser faster than it needed to. This had all the trappings of a great film but it just needed to feel like it had a bit more trust from the people making decisions behind the camera.

Zawe Ashton, who played Dar-Benn, reminds me quite unfortunately of Christopher Eccleston's Malekith; this is a marvelous performer but a very simplistic antagonist that doesn't afford much opportunity to stand out. Seo-joon Park, who played Prince Yan, was clearly hired for his singing but failed to really standout in his duo/chorus performance piece; outside of his main musical role Park's line delivery was some of the worst in the feature. Abraham Popoola, who played Dag, is an odd side character with more screen time than he really needs; Popoola doesn't really fill a role that is comedic nor dramatic nor stunts heavy nor exposition oriented so it really does become difficult to place why he is put front and centre so often. Daniel Ings, who played Ty-Rone, is quite a dull secondary antagonist figure; the fact Ings' character disappears halfway through the movie is barely noticeable reflects the significance of the role.

The Marvels may not be as good as the first Captain Marvel feature but it has an incredible leading cast that I could watch together for hours on end. I would give The Marvels a 7.5/10.

Cat Person

 This review may contain spoilers!

 

Cat Person is an adaptation of the New Yorker short story of the same name by Kristen Roupenian; this short story became a viral internet sensation upon release. The feature follows the experience of Margot, a young college sophmore who meets an older romantic partner in Robert. The film as a whole examines the complexities of modern dating and some of the new dangers and behaviours associated with it. The film is extremely powerful when it stays with Margot, this is a protagonist who is extremely relateable and whom the audience can follow like a cat chasing a laser dot. Margot is someone with a great deal of care for others, a pretty razor sharp wit and an element of personal insecurity. She comes from a home life where she feels manipulated and unable to be herself, her ex-partner coming out as asexual also leaves her feeling distant. But as she meets Robert, in what is a very abrupt and awkward encounter, she begins a romantic entanglement that takes place in equal measure via her phone as it does in person. 

 

Margot constructs a fantasy of the man she is with through the texts she gets, never quite fully realising the true nature of Robert. I love seeing the contrast of this when she finally meets up with Robert in person from time to time. They only ever really have two physical dates but their relationship lasts for months on text, which affects their feelings towards one another immensely. I loved the more fantastical elements of this film, in which Margot imagines all the ways scenarios may actually go; her fear around a strong dog she was helping turning feral on her especially reflected the theme of the film well. But the real coup de grâce occurs when Margot and Robert have sex for the first and only time, an extremely awkward and provoking scene. It is a variety of elements at play here that makes this scene work so extremely well: from the clear implication Margot isn't comfortable with having sex, the out of body theatrical dialogue Margot shares with an imagined copy of herself or even the way the camera places Robert over the audience in several moments. The trick here of making the audience feel sexually engaged with Robert is horrifying and a revolting moment that stayed with me well after credits rolled.

The way this film is shot is told via a very skilled contrasting lens; there can be close moments of anxiety that will scale out to these wide and empty silent shots that up the scare factor. I also really enjoyed the soundtrack for the film; there's a lot of small cues here that feed well with want and desire. Also hearing Britney Spears' 'Gimme More' used to essentially block out the frightful nothing of a walk home at night was brilliant.

 

Nicholas Braun, who played Robert, does a frighteningly excellent job at portraying a man so emotionally distant and lacking confidence; Braun can switch between the Robert we see and the Robert Jones' Margot imagines in the blink of an eye. Geraldine Viswanathan, who played Taylor, has really just come onto my radar this year but is already an actor whom I greatly enjoy; Viswanathan is so blunt and champions her character's crusading sense of justice well. Hope Davis, who played Kelly, is very intense as this controlling mother figure; Davis really sets the tone for home life discomfort in the film chiefly through her unnerving Marilyn Monroe number. Liza Koshy and Josh Andrés Rivera, who played Beth and Dave respectively, are extremely funny side characters in this; I love the complete dedication to the annoying musical theatre friend appearance they had going. Jeremy Gill, who played Kyle, is only a briefly appearing figure but quite a profound role; Gill's approach to presenting and talking about asexuality in his role is commendable. Fred Melamed, who played Dr. Resnick, is one of the funniest performances in the film and one of my favourite scenes; the gravity Melamed lends this fictional therapist is what makes this so very special. Sammy Arechar, who played Kelvin, is another role that is only one scene strong but makes it an absolute memorable piece of viewing; Arechar awkwardly navigating having to sell defensive products to the two female leads results in some incredible dialogue exchanged between him and Viswanathan.

However, the best performance came from Emilia Jones, who played Margot. There are some really up and coming performers who are well worth watching right now and Jones is one of them in a big way. I was so entirely impressed with her in Coda that I wondered how her next leading role could ever compare. While I won't describe Cat Person as being close to Coda's quality, Jones' excellent leading performance sure is. I loved watching this protagonist who feels very grounded, she can be witty and spirited in one scene while exposing some personal insecurities the next. Watching Jones take a role who was very free-spirited, if not a little lonely, and entirely reworking her to be essentially bound to the idea of this man she is dating was an uncomfortable but honest watch. The almost dual monologue performance in the major sex scene of the film felt like an awards worthy performance out of theatre; Jones was arresting and helped to heighten audience fear and axiety. This movie is worth seeing because of Margot, and that can only be said because of Emilia Jones and her powerhouse performance.

 

So why does Cat Person never rise to be the same sort of critical piece that a similar feature like promising Young Woman is? Well the feature often feels very muddled in the first act, it knows where it wants to go but neglects to really seem interested in taking the audience there. Margot's day to day life is simplistic and the way we ease into her relationship with Robert isn't especially compelling. In fact you really have to take a few leaps in logic to believe this relationship can get to where it's slanted to go. The second act really patches that issue up but at first it is hard to imagine any woman becoming shackled to a person who behaves like Robert does. But the part that really doesn't work for this piece is the final act and the way this film keeps trying to run some commentary on what this all means for Robert too. As a male viewer I can appreciate the desire to position Robert's perspective; but this is a female led film, written and directed by women front faced with a kickass Margaret Atwood quote that notes the danger women experience versus the fear of lost status men have. This was never going to be Robert's story and it's not vital to capture his point of view as much as this film attempts to find it. The final act just melts down into a violent thriller-styled brawl for survival culminating in a fire that forces our protagonist and antagonist to work together. It is a massive sequence that really lets down the themes of the movie, essentially drifting apart from what we have been told the entire time.

 

The editing for the film got pretty choppy at times, I was also underwhelmed by the special effects. In the climactic sex scene there's a moment where we see multiple Margot's surrounded by stars in what is the only weak part of that scene, a glaring moment of bad visual effects. The score for the film never really strikes up attention, the music could have achieved a moment of fear or anaxiety in the piece but is never attention-grabbing enough. 

Isabella Rossellini, who played Dr. Enid Zabala, is one of the least convincing performances in the film; this college professor with some over the top dialogue and an oddly social relationship with her students feels like an odd side character. Christopher Shyer, who played Ernie, is quite an unimpressionable stoic father figure; Shyer's role doesn't build on relationships with other characters and becomes fairly forgettable. Donald Elise Watkins, who played James Madley, is the weird result of a very forgettable subplot; Watkins didn't really need so much dedicated screen time and was a role that really drew attention away from storylines that were probably more important.

A pretty provoking and relevant film that could have been the next Promising Young Woman if it didn't pull its punches. I would give Cat Person a 7/10.