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Tuesday 15 October 2024

A Mistake


This review may contain spoilers!
 
A Mistake is an adaptation of Carl Shuker's novel of the same name, in which surgeon Liz Taylor comes under scrutiny for alleged medical malpractice. After a sepsis patient Liz was operating on dies to her infection, focus begins to draw to the surgery in which a mistake happened during the operation.
 
This is a very compelling drama, the sort of topic that if you don't have a lot of knowledge on, really makes you yearn to discover a bit more around medical practice. Yet, while the film touts some weighty themes, I found myself personally most invested in the story of Liz Taylor and the downward descent she finds herself upon. Liz is a powerhouse figure when first we meet her, a dominant presence in the operating theory and entirely confident in herself. We note some early points of weakness in her character, she is very arrogant which leads to her pushing her registrar to make an insertion he is unprepared for, and Liz isn't naturally empathetic with her patients and their families. The fallout of her patient's death results in Liz bumbling the post-mortem sit down with the family, leading to her name being dragged through the papers and the hospital itself coming under fire. From here her life only spirals as she is faced with increased monitoring of her surgery results, suspension of her ability to practise, a mite infestation in her home, her girlfriend leaving her and multiple deaths resulting from this fallout. Liz really gets broken throughout this piece and watching her take the broken pieces, acknowledge her blame and fight for others ultimately is a very satisfying character arc to watch.
 
Frank Ilfman's morose score perfectly represents the descent into despair this film takes us on, it's a very sombre piece of music that filters in nicely throughout this grey visual.
 
Simon McBurney, who played Andrew McGrath, is a bit of a moustache twirling antagonist, but he works so neatly for it; McBurney revels in being the bully to Banks all film long. Mickey Sumner, who played Robin, feels quietly exciting and intoxicating, which shows why Banks is so captivated with her; it was nice to see Sumner's own crisis of conscience in staying with Banks during the events of the film. Joel Tobeck, who played Alistair, is a pretty gruff and ready leader of the hospital; Tobeck exudes the management role very well, and he connects neatly with Banks in their first scene. Richard Crouchley, who played Richard, is a very meek and earnest character who desires to do the best; watching Crouchley take his character on a very depressive spiral is arresting to watch. Niwa Whatuira, who played the Bio Ethicist, is a very calculating and hard to like character at times; there's a degree of cold indifference to Whatuira which makes him an incredible on-screen rival for Banks.
 
However, the best performance came from Elizabeth Banks, who played Liz Taylor. This role is a real hardass at times, she can be impassive and wields her intellect like a weapon and a status symbol. Yet, it's clear within this performance that attitude is earned, it comes from skill and hard work well performed. Banks plays the theatre scene in which the operation goes wrong really well, from an arrogant outburst to a laser-like and driven focus. This whole film we see the hard fighter she is within her workplace and outside that space, the way she is emotionally drained or beaten up by those events. I loved seeing how distanced she comes across even in her closest relationships with her girlfriend or sister. The scene in which she has to put down her sister's dog is one of the saddest things you'll see in this film, rivalled closely by her being the first responder to a suicide. Liz Taylor is a strong and impressive role that goes on a wonderful character arc, brought to life by Elizabeth Banks. It's almost enough to excuse the questionable Kiwi accent.
 
A Mistake grapples with some pretty big themes of medical ethics and accountability. It frames a surgery for a sepsis patient in which three incisions and insertions have to be made. Liz takes the first and performs the third incision, but goads her registrar into making the final insertion. He does and fails, leading to damage within the organs; Taylor fixes this and the patient later dies of her infection. The whole film then descends into questioning whether Liz is right about the surgery not being the cause of death, also pondering if that patient should be held against her morbidity stats even though the patient was likely to pass. The film gets lost down the road about how to talk to families about these events and what good accountability looks like in the medical field. The film even asks if we should be tracking and releasing success and morbidity data for each practising surgeon, or if this will just drive good doctors out of work. The whole film is riddled with moral questions, often very precise for the medical profession, but it doesn't have the surety to answer them. Often the film pushes an idea back and forth a little and then events just progress. A Mistake is very tentative around taking a stance at the best of times. This is also a sluggish film, it isn't in any hurry to reach conclusions or dramatic heights despite the nature of the events in the film.
 
The design of this film tries to get creative without much to work with at times, but overall the film is a drab, grey, lifeless thing. There doesn't seem to be much insight into how to draw effective visuals from a bland fake hospital, the Auckland CBD or a basic house set. Overall, the film is edited and coloured to be slow and dull.
 
Fern Sutherland, who played Jessica, is a hard sell as Banks' sister; the pair don't really have much chemistry, even in their big emotional character moment of the film. Rena Owen and Matthew Sunderland, who played Tessa and Owen respectively, are almost cartoonish and over the top in their portrayal of grief; it's an embarrassing contrast to some of the dramatic performers in the same scenes as them. 

In spite of a brilliant cast, this is a film lost in its own complex themes and washed out colour palette. I would give A Mistake a 5.5/10.

Monday 14 October 2024

Joker: Folie à Deux


This review may contain spoilers!
 
Joker: Folie à Deux is the sequel to 2019's Joker, set only a short time later as the now incarcerated Arthur Fleck has to deal with the looming court battle around whether he will live or die. As the court case draws ever closer, Arthur becomes entangled with another Arkham Asylum inmate, Lee Quinzel. Now that this chaotic duo are united, will Lee bring forth the Joker persona once more to reign terror upon Gotham?
 
The thing I found much easier about this film as a sequel was that I could let go of my misgivings about how this character was used, and if Arthur could really be considered 'Joker'. I acknowledged Todd Phillips was running his own tale, and it just was tied up in branding to get that extra backing. So I found myself a bit more invested in Arthur Fleck and the consequences of his actions from the first film. In fact, some of the very best scenes for me are when Arthur has to confront the horrors of what he has just recently done or experienced; moments like the psych evaluation scene early on were really evocative. But the best scenes were the character witness ones in the trials, particularly that of Gary Puddles. To see the real life horror experienced by someone Joker spared and how he can't reconcile that moment within himself was perhaps the most moving instance of the feature.
 
Todd Phillips' bleak style gets to be tampered with here, he bleeds in the colour of performance musical acts and blends it into the morbid palette of his Gotham. I'm also pleased to hear the original score, that oppressive warble that holds our characters' prisoner in a sort of despair.
 
Brendan Gleeson, who played Jackie Sullivan, is quite grounded as the bully guard who charms and manipulates his prisoners/power; Gleeson can go from moments of being amiable to sudden explosive fits of violence. Zazie Beetz, who played Sophie Dumond, is only back for a scene but it reminds you why she served so well in the first film; Beetz's role comes across as hardened by the events she survived in the original feature. Steve Coogan, who played Paddy Meyers, feels like a real hard hitting tv journalist; Coogan is very shrewd and calculated in his scene with Phoenix and the pair verbally spar quite well. Leigh Gill, who played Gary Puddles, is a role that rivals for the best performance of the feature; the grief and trauma Gill acts out in the wake of surviving a Joker attack is gripping.
 
However, the best performance came from Joaquin Phoenix, who played Arthur Fleck. I didn't really enjoy Phoenix in the first film, it felt like he was measuring up to the role and pushing some weird behavioural choices for the character. The sequel seems to have drawn new life from Phoenix, he's a bit more relaxed and aloof in the role, which is quite freeing. Fleck seems impassive when we reconnect with him, he's found a blank middle where he doesn't have to be Joker to survive. Watching Phoenix split and break his role as he pantomimes the character's dead mother is a bleak peak into his mind. The revelry and wonder he portrays when he first encounters Lee (Gaga) is a moment of fantasy that builds and pours through the whole narrative. I loved seeing Phoenix ham it up in the Joker persona, building to the chaos we all expect. It was equally interesting watching that dismantle within him, as he loses the ability to be the killer everyone expects of him. It's a gentler, more vulnerable Arthur, but one who wouldn't be this well-defined without all the history of the first film.
 
Joker: Folie à Deux is often a poor sequel, but it started out on shaky foundations. This film is a constant reminder that we're watching Todd Phillips' Arthur Fleck, anything resembling Joker is a bad costume and clown make-up. The idea that the film ignites by a sort of manipulated love story, in which Lee and Arthur push each other to the extremes of chaos in order to reignite the Joker persona, is a bit absurd. It feels like another expected moment, the two wild crazy loners ignite their worst selves together, we've had the Joker and Harley Quinn relationship painted up and glamorised weakly before. Another time feels excessive. It becomes hard to account for Lee, the why of her is pretty underwhelming, and it doesn't drive the story in any new unexpected direction. Ultimately, the film becomes Arthur pining for a romance that feels poorly earned through transportative musical fantasies. The musical genre elements of the film are poorly constructed and fail to blend well with the fantasies seen in the original Joker. Overall, this film puts a lot of emphasis on the flashy storyline, Joker getting romantic but fails to have much fun with what could have been that boiling pot court drama. The conclusion of this film does what every Joker story knows how to do; gently reminds us the Joker is entirely replaceable and the guy we've been following for two films couldn't live up to the idea forever. It's a cop out move, and it undercuts a lot of the work trying to make this a long form, engaging Joker narrative. The film also crudely inserts a prison rape scene for no reason than to show brutality. The Joker films are edgy and dark, but the purpose behind them is often very shallow.
 
I was entirely put to sleep by the pacing on this feature, the editing was sluggish and often lingered past the point it needed to. Worse than that was the soundtrack and musical numbers of the film. The covers chosen were a very jumbled mish mash that had not so subtle links to Joker motifs. While Lady Gaga sung well for most of her songs, the numbers themselves weren't very inspired, while Phoenix underperformed quite notably in the singing component.
 
Lady Gaga, who played Lee Quinzel, has been on a real rough streak with roles of late; there is just no emotion behind her line delivery in this one, and it makes for an uninteresting lead. Catherine Keener, who played MaryAnne Stewart, was quite a generic lawyer role that made little impression; Keener just didn't define her role's feelings nor engaged with other characters much beyond a surface level. Harry Lawtey, who played Harvey Dent, might be one of the worst on-screen depictions of Dent we'll ever have; Lawtey's prosecutor tends to drone and lacks any kind of charisma.
 
A fitting end to one of the worst written Jokers for the screen, maybe now we'll finally stop chasing Heath Ledger's shadow. I would give Joker: Folie à Deux a 3.5/10.

Sunday 6 October 2024

The Wild Robot


This review may contain spoilers!
 
The Wild Robot is an adaptation of Peter Brown's book of the same name, in which a service robot called Roz winds up shipwrecked on a wild island. Roz has to learn to find her place on this strange island, make friends with the local wildlife and raise a young gosling. 

I used to love Dreamworks quite a bit growing up, they had some classic features that stood out in the animated film industry. The past few years have seen some less desirable new entries, including a range of sequels that felt unnecessary. So when I tell you that The Wild Robot is Dreamworks not only at its very best, but making something that is in my opinion a bit of a masterpiece - just know that I'm doing my best not to exaggerate. This film is a beautiful story about a stranger outside their element. Roz is a service android, tailored to perform the needs of human owners and built for civilisation. She isn't really built for the wild 'fight to survive' nature of the island she is stranded upon. However, when she breaks protocol to learn the language of the animals, tries to work with them and even raises Brightbill after accidentally causing the death of his family, she becomes a part of this wild community of critters. The scene in which she saves all the creatures of the island from the harsh winter and creates a truce in her hut is one of my favourite moments in the film. I also think there's quite a beautiful story here around being a mother and learning how to be. Roz is quite impassive as a service android initially and learns how to raise Brightbill; but more than this she learns how to love the young gosling who is her son. She develops an unconditional sort of love that places the gosling before her own needs, very literally in some scenes, and it becomes this incredible metaphor for motherhood. There's another great theme here around nature vs. artificial; the technical world versus the natural one. Roz has to reorient herself and learn many more lessons than she is inbuilt with to function at the island. When Vontra invades later we see the uncaring carnage unleashed by the machines, which contrasts with the island itself where death occurs as a way of the cycle of life, but it is otherwise a community holding itself together.

The animation for this film is beautiful, certainly some of my favourite in a recent Dreamworks film. There is a lot of emphasis on mapping a beautiful landscape on the island; from the gorgeous crashing waves, the dominant presence of snow, a wall of butterflies or even the dangling ever-present vines, this is a film with some exceptional and excellent scenery. The character designs are very cool too; all the animals have such personality blended into their design, and the light work used with Roz is dazzling. The score for the film is quite compelling, with some very emotional points woven in there. I also have to shout out, 'Kiss the Sky' by Maren Morris, a wonderfully uplifting track that tracks the journey of Brightbill coming to fly confidently thanks to Roz and the wild island community.
 
Pedro Pascal, who voiced Fink, is in a new favourite role immediately with this sly fox; I like the storyteller quality of this character and how Pascal so beautifully depicted it. Kit Connor, who voiced Brightbill, is one of those plucky and earnest roles and fits neatly into the film; Connor takes Brightbill on a great journey from being the odd one out to a leader amongst the geese. Bill Nighy, who voiced Longneck, is such a great leader figure in this; Nighy just feels innately kind and has this role that just uplifts others. Stephanie Hsu, who voiced Vontra, is very sickly sweet while also being pretty ruthless as an antagonist; weirdly close to her sound in Everything Everywhere All At Once at times. Matt Berry, who voiced Paddler, is hilarious as this cranky super-serious beaver; Berry was one of my favourite comedic points in the film, and he also delivered a role you'd fall in love with. Ving Rhames, who voiced Thunderbolt, just sounds powerful in this; Rhames has the presence to embody one of the most formidable fliers on the wild island. Mark Hamill, who voiced Thorn, is a bit of a surprise voice but one I really liked; Hamill as the big and gruff peace-making bear is a nice point in the film. Catherine O'Hara, who voiced Pinktail, is one of the funniest performers I've been watching this year; her less than conventional mother role in this led to some hilarious scenes.

However, the best performance came from Lupita Nyong'o, who voiced Roz. This has been a phenomenal year for Nyong'o, with this incredible voice work paired with an unmatched performance in A Quiet Place: Day One, she has been on her A game. This film sees Nyong'o's delivery start as very light, with a lean towards a monotonous cadence. Yet she does such a good job of transitioning her character into something much greater. We start seeing these more emotional inflections, we hear her starting to feel love or worry for another, or even pleading peace amongst the critters. Roz is a beautiful character because her role is learning to feel emotions so that she can become something truly good for the wild island. It's a very sweet role, a fascinating protagonist and some great work by Nyong'o.

There are a lot of times when this film is quite comfortable in taking it slow, making the moments of just living on the island drag out at points. I also think it would have been nice to sit with a couple of the side characters a little longer just to make those connections stronger for the audience. Vontra was a great antagonist, but the big action moment with all the bad robots invading the island felt a bit generic after such an otherwise evenly-paced and gentle tone film.
 
The Wild Robot is currently my top animated film for 2024, and it is a hard one to beat. I would give The Wild Robot an 8.5/10.