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The Mountain (2024)
A climb well worth taking
Nestled beneath the watchful gaze of Mount Taranaki, a trio of unlikely friends embarks on a journey of self-discovery in Rachel House's heartwarming coming-of-age tale, The Mountain. Sam (a delightful Elizabeth Atkinson), a young girl grappling with her Maori heritage, finds solace in the company of the adventurous Maori boy, Bronco (an earnest Terrence Daniel), and the more cautious Mallory (Reuben Francis). Their escape into the wilderness becomes a quest for belonging, connection, and a deeper understanding of their place in the world.
House, a seasoned actress making her directorial debut, weaves a narrative that's rich in cultural context. The film beautifully portrays the deep respect Maori hold for their ancestral land, personifying Taranaki itself as a watchful guardian. This reverence for nature adds a layer of depth, making the mountain more than just a backdrop-it becomes a character in its own right. Thematically, The Mountain explores familiar territory: navigating family issues, forging friendships, and confronting personal fears. But the film's execution feels genuine, thanks in large part to the believable performances by its young cast. Atkinson shoulders the film admirably, capturing Sam's vulnerability and determination with a charming innocence. Daniel brings a spark of energy as the enthusiastic Bronco, while Francis provides a grounded counterpoint as the thoughtful Mallory. While the adult characters are somewhat underwritten, they provide a steady presence and emotional support for the central trio.
Visually, The Mountain stuns. Cinematographer Matt Henley captures the breathtaking beauty of New Zealand's landscapes, with sweeping vistas that inspire awe. The use of natural light and a muted colour palette further emphasises the film's connection to nature. The score, a blend of traditional Maori instruments and contemporary sounds, seamlessly complements the visuals, creating a sense of both serenity and adventure. The editing is clean and avoids unnecessary flourishes, allowing the story and characters to take centre stage. Pacing-wise, the film occasionally feels a tad slow, particularly in the first act. However, the investment in character development pays off, making the emotional payoffs in the later sections all the more rewarding.
The Mountain has a couple of shortcomings. The plot, while heartfelt, lacks the narrative complexity found in coming-of-age classics like Stand By Me. There are also moments of dialogue that feel a bit too on-the-nose, delivering emotional messages a tad too bluntly.
Despite these minor stumbles, The Mountain is a film that ultimately won me over with its sincerity and genuine charm. The message of embracing your heritage, finding strength in friendship, and respecting nature resonated deeply. This is a film best enjoyed with an open heart and a sense of wonder, perfect for a family movie night or a solo escape into the beauty of the natural world. With its stunning visuals, endearing performances, and heartfelt story, The Mountain may not reach the cinematic peak, but it's a climb that's well worth taking.
The Bikeriders (2023)
A decent watch but left me wanting more
The Bikeriders revs its engine on a wave of nostalgia, taking us back to the late 1960s and early 1970s as it chronicles the rise and fall of a biker club called the Vandals. The story is based on a book called the same name by Danny Lyon-a photographic diary he published that documented the lives of the Chicago Outlaws Motor Cycle Club as part of his immersion in motorcycle subculture in the 1960s.
The Vandals is a fictionalised club based on the Chicago Outlaws. Led by the charismatic Johnny (a gruff but soulful Tom Hardy) and the hot-headed Benny (Austin Butler, channelling a young Marlon Brando), the Vandals initially embody a sense of brotherhood and rebellion. We see them cruising dusty roads, tinkering with their bikes, and living a life outside the mainstream. The film is narrated by Kathy (Jodie Comer), Johnny's on-again, off-again girlfriend, whose wide-eyed innocence provides an interesting counterpoint to the rough-and-tumble world of the bikers.
Director Jeff Nichols captures the era with a loving eye for detail. The grainy film aesthetic (shot on 35mm anamorphic film), the carefully curated bluesy rock soundtrack, and the lived-in costumes all transport us back to a time of social upheaval. However, the historical context feels more like window dressing than a truly explored theme. The Vietnam War, a defining conflict of the era, is barely a whisper in the background. This missed opportunity weakens the film's emotional impact; a deeper exploration of how the war shaped these men could have added resonance.
The plot itself meanders a bit. The first half is more engaging, focusing on the camaraderie and internal dynamics of the Vandals. We see the cracks forming as new members arrive, bringing more reckless and violent energy. But the film loses steam when Austin Butler exits the picture part way through. The remaining Vandals become one-dimensional thugs, and the narrative loses its emotional core.
The saving grace of The Bikeriders is its cast. Hardy delivers a nuanced performance, capturing Johnny's gruff exterior and his surprising vulnerability. Comer is charming as Kathy, but the script doesn't give her enough depth, although her performance is remarkable. She had about 30 minutes of audio of the real character to learn the accent you hear from her in the film. And, from what I have heard, it sounds exactly like the original person. Butler's portrayal of Benny is all smouldering intensity, but it lacks the emotional complexity to be truly compelling.
The technical aspects are solid. The cinematography is evocative, with dusty landscapes and smoky bar interiors creating a lived-in atmosphere. The editing is efficient, but the pacing can be uneven, especially in the second half. The use of colour is interesting, with vibrant tones for the early, more innocent days of the Vandals giving way to darker tones later on, symbolising the darkening path they take.
The Bikeriders is a film with undeniable charm. It boasts strong performances, a captivating setting, and a touch of nostalgia. However, its meandering plot, underdeveloped themes, and lack of emotional depth prevent it from reaching full throttle. If you're looking for a visually stylish trip down memory lane, this might be your ride. It's a decent watch, but one that leaves you wanting more.
Un silence (2023)
Haunting and thought-provoking
Joachim Lafosse's A Silence is a slow-burning drama about a family where the unspoken hangs heavy in the air, threatening to suffocate its characters. We meet the Schaars-a wealthy couple, Astrid (Emmanuelle Devos) and François (Daniel Auteuil), living a seemingly idyllic life with their adopted son Raphaël (Matthieu Galloux). But cracks soon begin to show, hinting at a dark secret lurking beneath the surface. Lafosse masterfully ratchets up the tension, drip-feeding us information without ever resorting to melodrama.
The film feels distinctly European, its focus on domestic turmoil reminiscent of Michael Haneke's work. However, Lafosse injects a dose of emotional vulnerability missing from Haneke's clinical approach. We see the toll the silence takes on Astrid, her facade of composure crumbling as the truth threatens to unravel. Devos delivers a powerhouse performance, her eyes conveying a lifetime of unspoken pain. Auteuil portrays François with a quiet intensity, his character haunted by past choices. Even newcomer Galloux holds his own, capturing the confusion and anger of a teenager grappling with a fractured family.
While the acting is superb, the pacing can slow at times. Long, lingering shots showcase the opulent surroundings that feel increasingly like a gilded cage for the characters. The score is sparse, adding to the film's overall sense of unease. The muted color palette reflects the emotional state of the characters, with pops of color only highlighting their isolation. Lafosse utilizes silence to great effect, letting the characters' unspoken words speak volumes.
A Silence isn't an easy watch. It tackles complex themes of guilt, forgiveness, and the enduring power of the past. However, its raw portrayal of family dysfunction and the performances of its central trio make it a compelling, if uncomfortable, watch. If you're looking for a fast-paced thriller, look elsewhere. But for those who appreciate slow-burn dramas that linger long after watching the movie, A Silence is a haunting and thought-provoking film.
Divertimento (2022)
A well-made inspiring true story
Divertimento, a biopic chronicling the inspiring journey of Zahia Ziouani (played by Oulaya Amamra), is a heartwarming crowd-pleaser with a touch of underdog grit. Set against the backdrop of the working-class suburbs of Paris, the film follows Zahia's unwavering ambition to become a conductor in an industry dominated by tradition and privilege.
The film excels at capturing the social and cultural barriers Zahia faces. Early scenes depict her attending a prestigious music school, where she's met with snickers and condescension from both classmates and faculty. This isn't just about overcoming self-doubt; it's a battle against systemic biases. Director Marie-Castille Mention-Schaar doesn't shy away from these challenges, but thankfully, the tone remains optimistic. There's a "can-do" spirit woven into the narrative, reminiscent of classic sports movies where the underdog triumphs against all odds.
Amamra delivers a captivating performance as Zahia. Her portrayal is both passionate and nuanced, showcasing the character's determination alongside moments of vulnerability and frustration. We root for Zahia from the get-go, and Amamra makes us feel the sting of every rejection and the thrill of every victory. The supporting cast, particularly Lina El Arabi as Zahia's twin sister Fettouma, provides strong emotional grounding.
While Divertimento's heart is in the right place, the plot occasionally feels formulaic. Certain conflicts are resolved a little too easily, and the narrative takes a predictable turn in the second half. The historical context of the movie helps to somewhat lessen this predictability. Knowing this is a true story adds a layer of weight to the emotional core.
The technical aspects are solid. The music, of course, is a combination of traditional classics. A little more risk-taking in the selections would have been welcome. The cinematography is uncluttered, allowing the focus to remain on the characters and the music. However, the editing could have been tighter in some scenes, particularly during montages that feel a tad rushed.
Divertimento is a pleasant and uplifting watch. It's not going to win awards for originality, but it delivers a powerful message about defying expectations and pursuing your dreams. If you're looking for a feel-good movie with a strong central performance and a touch of social commentary, Divertimento is a well-made and inspiring story that will leave you with a smile.
A Quiet Place: Day One (2024)
Tense and suspenseful but not as good as the previous two
A Quiet Place: Day One throws us into the heart of the alien invasion that terrorised the Abbott family in the previous films. We follow Samira (Lupita Nyong'o), a New Yorker on a seemingly ordinary day, thrust into a world of chaos as the blind but sound-sensitive creatures descend. Paired with a young man named Eric (Joseph Quinn), they navigate the crumbling cityscape, desperately seeking refuge.
There's no denying the tension that A Quiet Place excels at. The constant threat of sound keeps you on the edge of your seat, and the film delivers some genuinely pulse-pounding moments. Remember that scene in the flooded subway station? Pure adrenaline rush. However, the story itself feels like a missed opportunity. The Day One in the title promises an origin story-a deep dive into the initial confusion and terror of the invasion. Instead, we find ourselves dropped into a narrative that assumes the audience (and the characters in the story!) already understands the creature's mechanics and the world's predicament.
The performances are solid. Nyong'o, as always, is captivating, conveying volumes through her expressive eyes and subtle gestures. Quinn holds his own, but the script doesn't give him much room to develop his character beyond being scared and resourceful. The real scene-stealer here is surprisingly feline; Frodo the cat provides some much-needed moments of (mostly silent) levity.
Visually, the film is impressive. The use of sound-or the lack thereof-is masterful. The bustling city reduced to a hushed ghost town is eerie and effective. The creatures themselves remain shrouded in mystery, adding to the fear factor. Where A Quiet Place: Day One falters is in its pacing. It feels rushed at times, skipping over moments that could have built a deeper emotional connection with the characters.
A Quiet Place: Day One is a decent popcorn flick, but it doesn't quite live up to the legacy of its predecessors. It lacks the emotional core and the sheer terror that made the originals so successful. Die-hard fans of the franchise might find some enjoyment in the world-building aspects, but overall, it feels like a slightly unnecessary detour in a well-established universe.
So, should you see it? If you're looking for a tense and suspenseful creature feature with a dash of sci-fi, then A Quiet Place: Day One might be worth your time. But if you're expecting a groundbreaking addition to the franchise, you might leave the theatre feeling a little... well, quiet.
The Convert (2023)
A beautiful and thought-provoking historical epic
The Convert, director Lee Tamahori's latest historical epic, takes us on a journey to 1830s New Zealand, a land simmering with tribal tensions on the precipice of British colonisation. We meet Munro (Guy Pearce), a disillusioned former soldier turned lay preacher who arrives at a fledgeling British settlement. When he's caught in the crossfire between warring Maori tribes, Munro's faith and identity are put to the ultimate test.
Tamahori doesn't shy away from the complexities of this period. The film beautifully portrays Maori culture, from intricate haka dances to the spiritual significance of moko (facial tattoos). There's a refreshing lack of subtitles for some te reo Maori dialogue, forcing us to immerse ourselves in the world and appreciate the characters' communication struggles. This commitment to authenticity extends to the production design, with meticulously crafted costumes and settlements that transport us back in time.
The Convert occasionally stumbles in its attempt to balance historical accuracy with crowd-pleasing action. The fight choreography, while intense, can veer into slightly unrealistic territory at times. Likewise, the film flirts with the "white saviour" trope in the first act, although Munro thankfully develops a more nuanced relationship with the Maori characters as the story unfolds.
The performances elevate the film. Pearce delivers a solid portrayal of a man grappling with his past and purpose. But it's Tioreore Ngatai-Melbourne as Rangimai, a fierce Maori warrior, who truly steals the show. Her performance is brimming with raw power and vulnerability, making Rangimai a character we can't help but root for. The supporting cast is equally strong, fleshing out the Maori community and the fledgeling British settlers.
The sweeping cinematography captures the breathtaking beauty of New Zealand's landscapes, with rolling hills and lush forests contrasting with the harsh realities of tribal warfare. The score is appropriately evocative, using traditional Maori instruments alongside a more modern orchestral sound. The editing is generally crisp, keeping the pace steady without sacrificing character development.
The Convert isn't a perfect film, but it's a compelling one. It's a visually stunning and thought-provoking exploration of cultural clash, faith, and the fight for survival. While the action sequences might not be the most grounded and the narrative occasionally flirts with clichés, the film's commitment to historical authenticity and the strength of its performances ultimately won me over. If you're looking for a historical epic that's both beautiful and thought-provoking, The Convert is definitely worth a watch. Just be prepared for a bumpy ride along the way, but one that ultimately leads to a rewarding destination.
Bastarden (2023)
A stunning historical drama with strong performances and a thought-provoking message
The Promised Land is not a typical historical drama. Sure, it's got 18th-century Denmark, war heroes, and ruthless aristocrats-the whole costume drama shebang. But beneath the powdered wigs and sweeping landscapes lies a story that's both intimate and epic, a character study woven into a tale of human resilience.
Mads Mikkelsen delivers a powerhouse performance as Captain Ludvig Kahlen, a haunted soldier tasked with cultivating a desolate, baron wasteland. It's a Sisyphean task, and the film doesn't shy away from the harsh realities of this unforgiving environment. The cinematography is stunning, capturing the bleak beauty of the Jutland moors in all their unforgiving glory. But there's a subtle shift as the story progresses. The initial coldness of the colour palette gives way to warmer hues as the first crops sprout, a testament to the stubborn hope that persists.
The plot itself is fairly straightforward-man versus nature, with a hefty dose of man versus man thrown in for good measure. The villain, Frederik de Schinkel (played with deliciously icy menace by Simon Bennebjerg), is a cruel landowner who sees Kahlen's success as a threat to his power. This good versus evil dichotomy could feel clichéd, but the film elevates it by exploring the complexities of Kahlen's own morality. He is a flawed hero who struggles with memories of his time in the war, and Mikkelsen expertly captures this internal conflict. There's a scene where Kahlen sits alone at a table, a single tear tracing a path down his cheek. It needs no dialogue; Mikkelsen's entire performance is a tapestry of unspoken emotions.
The supporting cast is equally strong. Amanda Collin brings a quiet strength to her role as a young woman who joins Kahlen's mission, and Kristine Kujath Thorp is captivating as a noblewoman caught between duty and desire. The dialogue is sparse but evocative, letting the actors use their silences to speak volumes. The pacing is deliberate at times, mirroring the slow, arduous process of taming the land. Some viewers might find this slow burn frustrating, but it allows the film to build a deep sense of place and character.
The Promised Land isn't without its shortcomings. The score, while atmospheric, can be a bit repetitive at times. And a few plot points feel a tad predictable, like echoes of classic Westerns transplanted to the Danish moors. Still, these are minor quibbles in an otherwise powerful film.
The Promised Land is a rewarding cinematic experience. It will leave you pondering the human capacity for both destruction and creation. If you're looking for a visually stunning historical drama with strong performances and a thought-provoking message, this one's definitely worth seeking out. Just be prepared for a slow burn, but trust me, the payoff is worth it.
Inside Out 2 (2024)
Navigates the labyrinth of adolescence with mixed results
Pixar's much-anticipated follow-up to the mind-bending original, Inside Out 2, dives back into the chaotic headquarters of Riley's emotions, this time as she tackles the turbulent terrain of adolescence.
The film tackles a relevant and relatable theme-the pressure to be perfect that plagues many teens. We see Anxiety slowly hijacking Riley's console, her need for control turning into a relentless pursuit of good grades, social status, and the approval of her impossibly cool classmate, Val. While the exploration of teenage anxiety is commendable, the plot itself feels a bit predictable. We've seen the "overachieving teen" trope before, and the resolution, while heartwarming, feels a touch formulaic.
Where Inside Out 2 shines is in its visual storytelling. The animation is, as expected from Pixar, stunning. The introduction of new "emotion landscapes," like the Sar-Chasm that fuels Riley's contemptuous side, and the jungle that represents her unconscious, are imaginative and visually dazzling. The use of colour is particularly effective, with Anxiety's world rendered in a sterile, monochromatic palette that beautifully reflects her controlling nature. The voice acting remains strong, with Poehler and Black perfectly capturing Joy and Anger's signature traits. Hawke, as the newcomer Anxiety, delivers a high-strung performance that's both comical and relatable.
However, some of the new characters, like Ennui, feel a bit underdeveloped. Their personalities aren't fleshed out as fully as the originals, leaving them as one-note additions to the emotional spectrum. The film's pacing also falters at times, particularly in the second act, where the focus on Riley's anxieties starts to feel repetitive.
Inside Out 2 is a film with good intentions. It tackles a complex issue with a fair amount of humour and heart. But it doesn't quite recapture the magic of the original. The predictable plot and underdeveloped new characters hold it back from greatness. Still, the beautiful animation, strong voice acting, and relatable themes make it a worthwhile watch, particularly for parents with teenagers navigating the emotional rollercoaster of adolescence.
So, is it a must-see? Not necessarily. But it's a decent popcorn flick with a message about the importance of embracing all of our emotions, even the messy ones. And hey, that's something we can all agree on, right?
Sugar (2024)
An intriguing neo-noir thriller
Private eye John Sugar tackles the Hollywood underbelly in this intriguing neo-noir thriller. While the plot, about a missing heiress, might sound familiar, Sugar keeps things fresh with its sharp writing, stunning visuals that switch between classic black and white and modern LA glitz, and a phenomenal performance by Colin Farrell as the world-weary detective. Some supporting characters feel a tad one-note, and the pacing can be a slow burn at times. But all in all, Sugar is a stylish and suspenseful ride, a perfect pick for fans of classic detective stories who don't mind a sprinkle of something new. I thoroughly enjoyed it.
Bad Boys: Ride or Die (2024)
Miami mayhem makes a messy return
Mike Lowrey and Marcus Burnett are back, and let's just say, age ain't nothin' but a number-for their ever-present immaturity, that is. Bad Boys: Ride or Die throws our favourite foul-mouthed cops back into the fire as they race to clear their late captain's name from a corruption scandal. Prepare for explosions, buddy-cop banter, and an abundance of slow-motion that would cause Michael Bay to blush.
Look, there's no denying this movie is pure popcorn fun. Will Smith and Martin Lawrence slip back into their iconic roles with ease-their comedic chemistry still crackles. There's a car chase through a glitzy Miami night market that's as thrillingly absurd as anything in the Fast & Furious franchise. The filmmakers clearly understand the heart of the series: mindless action punctuated by wisecracks.
But therein lies the rub. While the action sequences are undeniably impressive-think bullet ballets and physics-defying stunts-they start to feel repetitive after a while. The jokes, too, often fall flat. Remember that hilarious bit from the trailer about Marcus's medical woes? Yeah, that's about the peak of the comedy here. It feels like the writers strained a little too hard to recapture the magic of the previous films, and some gags land with all the grace of a hippo on roller skates.
The plot itself is serviceable but unsurprising. There's a new villain, a fresh mystery, but it never feels particularly inspired. We've seen this cops-on-the-run trope countless times before, and Ride or Die doesn't offer anything particularly new or thought-provoking.
The movie's saving grace is, once again, the central duo. Smith maintains his charisma as the ever-cool Mike Lowrey, while Lawrence brings the manic energy, particularly when his character goes undercover (think a high-pitched falsetto that would make a chipmunk blush). New additions to the cast, like Vanessa Hudgens as Mike's fiery captain's daughter, add some spark, but their roles feel underdeveloped.
Technically, the film is solid. The direction is slick, the editing keeps the pace brisk, and the Miami setting is as vibrant and sun-drenched as ever. The soundtrack, however, is a forgettable mix of generic hip-hop and forgettable score.
So, is Bad Boys: Ride or Die a worthy successor to the franchise? Hmm, not quite. It's a fun, albeit forgettable, summer action flick. Die-hard fans will likely find enough to enjoy, but for newcomers, there are better entries in the buddy-cop genre (think 21 Jump Street or Rush Hour). This one might make you chuckle, or wince, but ultimately, it won't leave a lasting impression. It's a perfectly serviceable three-star ride-enjoyable in the moment, but quickly fading from memory once it's over.
The Watchers (2024)
A promising debut
Writer-director Ishana Night Shyamalan, daughter of the iconic M. Night Shyamalan, steps into the spotlight with her debut film, The Watchers, a suspenseful horror film that's equal parts intriguing and frustrating. Mina (played with quiet intensity by Dakota Fanning), a young artist on a solo trip in Ireland, finds herself stranded in a remote forest with no way out. Seeking refuge, she stumbles upon a concrete bunker where three strangers are already holed up. But safety is a fleeting concept here. As night falls, a mysterious force emerges, forcing the group to huddle behind a large, one-way window-the only barrier between them and the unseen watchers.
The film's greatest strength lies in its initial setup. The dense, uncharted forest evokes a sense of primal unease, and the concept of unseen entities lurking just beyond the window is undeniably creepy. Shyamalan keeps the creatures shrouded in shadow for a good portion of the film, relying on suggestion and flickering lights to build tension. This approach is reminiscent of classic monster movies like Alien or Jaws, where the unseen threat is often more terrifying than a fully revealed one.
However, The Watchers struggles to maintain its momentum. The plot unfolds slowly, with long stretches of dialogue that do little to develop the characters beyond their basic survival instincts. While Fanning delivers a compelling performance, the supporting cast feels underdeveloped. The film throws in a childhood trauma element for Mina, but it feels tacked on rather than organically woven into the narrative.
Visually, the film is a mixed bag. The use of colour is particularly interesting. The stark contrast between the warm, artificial light inside the bunker and the cold, oppressive darkness of the forest effectively creates a sense of isolation and vulnerability. However, some of the CGI effects used for the creatures later in the film feel a bit clunky and detract from the overall atmosphere. The editing is efficient, with jump scares used sparingly and to good effect.
The film's ending, a signature Shyamalan twist, is sure to spark discussion. But unlike some of her father's more successful works, it doesn't quite land here. It feels more like a desperate attempt to inject a jolt of surprise rather than a satisfying conclusion to the established themes.
The Watchers is a promising debut from Ishana Night Shyamalan. It showcases a clear understanding of suspense-building and a willingness to experiment with genre tropes. But, the underdeveloped characters, a slow pace, and a somewhat underwhelming twist hold the film back from reaching its full potential. If you're a fan of slow-burn horror with a dose of mystery, this might be worth a watch. But if you're expecting a truly terrifying experience, you might want to look elsewhere. It's an intriguing film with a great central premise, but its execution is uneven.
Jiu Long cheng zhai · Wei cheng (2024)
A fun, albeit familiar, ride through a fascinating world
Soi Cheang's Twilight of the Warriors: Walled In throws us into the heart of the Kowloon Walled City, a labyrinthine sprawl of crime and community in pre-handover Hong Kong. Lost and adrift, Chan Lok-kwun (played by a capable newcomer) stumbles into this hidden world, forced to navigate its treacherous alleys and forge unlikely bonds with its denizens. While the fight choreography is undeniably impressive-think balletic brawls with a dash of Jackie Chan-esque acrobatics-the narrative itself struggles to find its footing.
The film's greatest strength lies in its historical context. Cheang masterfully recreates the claustrophobic chaos of the Walled City, a place where desperation and resilience go hand-in-hand. The production design is phenomenal, capturing the grimy underbelly of the city in meticulous detail. We see makeshift markets, overflowing with life, nestled beneath the looming concrete jungle. This immersive world-building is further enhanced by the film's colour palette. The muted greens and browns that predominate, punctuated by bursts of neon signage, perfectly reflect the harsh realities of life inside the walls.
However, the plot itself feels a tad derivative. The wide-eyed outsider finding redemption within a community on the fringes is a well-trodden path, and Twilight doesn't offer much that's fresh. Philip Ng's portrayal of the main antagonist, who consumes scenery with gusto, comes off more like a caricature than a fully developed foe. The film also suffers from some pacing issues, particularly in the second half. The frenetic energy that propels the first act gives way to a drawn-out final showdown, complete with an overuse of CGI that detracts from the otherwise impressive fight choreography.
That being said, the performances elevate the material somewhat. Louis Koo exudes quiet charisma as a wise mentor figure, and Raymond Lam brings a relatable vulnerability to his role. The camaraderie between the young leads is believable, even if their characters lack depth. The editing, while occasionally frenetic, keeps the action sequences engaging, even if it sacrifices some clarity in the fight choreography.
Twilight of the Warriors: Walled In is a visually stunning and well-acted homage to a bygone era. It falters with a predictable narrative and some reliance on special effects, but the film's heart lies in its exploration of a unique historical setting. Fans of Hong Kong action cinema and anyone interested in the Kowloon Walled City's legacy will find much to appreciate here. However, those seeking a groundbreaking story or innovative action sequences might leave feeling a little shortchanged. Overall, Twilight of the Warriors: Walled In is a fun, albeit familiar, ride through a fascinating world, but it doesn't quite reach the heights of the genre's best.
La bête (2023)
An excellent movie for our times
The Beast is set in a future where artificial intelligence reigns supreme and emotions are considered a liability. But beneath the sleek veneer of this dystopian world lies a hauntingly beautiful exploration of love, memory, and what it means to be human. The film weaves a complex narrative that jumps between time periods. We meet Gabrielle (Léa Seydoux, always captivating), a woman in 2044 grappling with a mysterious illness. To find a cure, she undergoes a radical treatment that forces her to confront past lives-a passionate romance in 1910 Paris and a disturbing encounter in 2014 California.
The historical and cultural juxtapositions are fascinating. Bonello uses them to subtly critique the present, particularly the pervasive sense of unease and the erosion of privacy in our hyper-connected world. One minute we're waltzing through a Belle Époque dreamscape, and the next we're plunged into the grimy underbelly of the internet, bombarded with unsettling imagery. It's a sensory overload that perfectly captures the fragmented nature of our times.
The film's greatest strength lies in its central performances. Seydoux is phenomenal. She seamlessly embodies Gabrielle's different iterations, from the wide-eyed innocence of her 1910 persona to the jaded cynicism of her present self. George Mackay, as her 1910 lover, delivers a performance that's both tender and nuanced. Their on-screen chemistry is palpable, making their star-crossed romance all the more heartbreaking.
While the plot itself is intriguing, it can be a tad convoluted at times. The multiple timelines occasionally feel disjointed, demanding a patient viewer willing to piece together the puzzle. But the film rewards perseverance. The fragmented narrative reflects Gabrielle's own fractured state of mind, creating a sense of unease that perfectly complements the film's themes.
Thematically, The Beast is a rich tapestry. It delves into the power of love and loss, the allure of the past, and the ever-present threat of a future devoid of human emotion. Bonello doesn't shy away from big questions, leaving us to grapple with the implications of a world sterilised of strong feelings. The film's technical aspects are equally impressive. The cinematography is evocative, with dreamlike sequences contrasting sharply with the sterile, tech-heavy future. The editing, though occasionally abrupt, mirrors the film's non-linear narrative, adding to its disorienting effect.
The Beast isn't an easy watch. It's a slow burn. And it certainly won't be for everyone. When I went to see it, a couple of people walked out. And if some of the comments I heard after the movie had finished are to go by, some people just didn't get what the movie was about.
But for those seeking a thought-provoking and visually stunning film experience, it's a must-see. It left me unsettled, yet strangely hopeful, reminding me of the enduring power of human connection in a world increasingly obsessed with control. If you're looking for a popcorn flick with a clear-cut ending, look elsewhere. But if you're open to a challenging and rewarding cinematic journey-one that you will need to work hard at-The Beast will satisfy you, and you'll be looking for someone to discuss it with as soon as you can. An excellent movie for our times.
Radical (2023)
Heartwarming and thought-provoking
Radical, a thought-provoking drama based on a true story, tackles the daunting task of education in a Mexican border town beset by poverty, corruption, and gang violence. Eugenio Derbez sheds his usual comedic persona to play Sergio Juarez, a passionate new teacher assigned to a struggling elementary school. The jaded students, used to rote memorisation and a broken system, are a far cry from the enthusiastic learners Sergio dreams of. Determined to make a difference, he throws out the textbook and embarks on a radical experiment, fostering curiosity and critical thinking through unconventional methods-at least for these students.
The film shines when it delves into the human stories. We see the spark of potential ignite in the eyes of Sergio's students. The camaraderie between Sergio and the school's disillusioned principal, Chucho (Daniel Haddad), is another highlight. Their shared love for education, despite their contrasting approaches, is beautifully portrayed. However, the film occasionally falls into sentimentality, skirting over the complexities of systemic issues. The corrupt officials and gang violence, while providing context, feel like missed opportunities for deeper exploration.
Derbez delivers a heartfelt performance, his charisma captivating the audience as Sergio relentlessly pushes his students. The child actors, all seemingly newcomers, are equally impressive, portraying the vulnerability and resilience of children grappling with a harsh reality. The film's heart lies in these classroom moments, where Sergio's unorthodox methods lead to heartwarming breakthroughs.
Director Christopher Zalla crafts a visually realistic portrayal of the impoverished town. The muted colour palette underscores the daily struggles, while bursts of life emerge during Sergio's unconventional lessons. The camerawork is unobtrusive, placing the focus squarely on the characters and their interactions. While the editing is mostly seamless, there are occasional pacing issues, particularly in the first half, where the film establishes the setting and characters.
I do not think Radical is perfect. The feel-good moments, while genuine, can feel a tad unearned at times. The film would have benefited from a deeper dive into the challenges Sergio faces from the sceptical community and the education board.
However, at its core, Radical is a powerful testament to the transformative power of a dedicated teacher. The film's message that every child, no matter their family's financial situation, has incredible potential will linger with you long after you finish watching it. While it doesn't quite reach the heights of a truly great film, Radical is ultimately a rewarding watch, particularly for those who believe in the power of education to change lives. So, if you're looking for a film that's both heartwarming and thought-provoking, Radical is definitely worth a watch. Just be prepared for a ride that's more inspiring than it is nuanced.
The Way, My Way (2024)
A pleasant meander through the Spanish countryside
The Way, My Way sets out to capture the transformative power of the Camino de Santiago, the famed pilgrimage route across northern Spain. We follow a disgruntled man named Bill, who laces up his boots and embarks on the 800-kilometre journey, seeking some nebulous sense of purpose. Along the way, he encounters a colourful cast of characters, all with their own reasons for hitting the dusty trail.
The film's heart lies in its exploration of self-discovery. Bill starts off as a real grouch, constantly griping about blisters and questioning everyone's motives. But there's a vulnerability beneath his gruff exterior, which the film slowly reveals. However, the growth we witness feels uneven. Bill's epiphany at the end, while heartwarming, lands a little flat. It would've benefited from a stronger build-up and a deeper dive into his internal struggles.
The performances are a mixed bag. The supporting cast, a blend of actors and real-life pilgrims, shines. They bring a genuine warmth and camaraderie to the film, especially in scenes where weary travellers bond over shared meals and aching legs. However, the lead actor portraying Bill struggles to fully inhabit the character. There are moments where his frustration and self-doubt resonate, but he doesn't quite capture Bill's full arc of transformation.
Visually, The Way, My Way is a pleasant travelogue. Lush green hillsides and quaint Spanish villages provide a picturesque backdrop for the journey. The cinematography does a good job of capturing the vastness of the landscape, making you feel the enormity of the undertaking. The use of natural light is particularly effective, bathing the film in a warm, almost spiritual glow.
The score is a tasteful blend that underscores the film's themes of introspection and renewal without being overly sentimental. The editing is efficient, keeping the pace brisk as Bill traverses the various stages of the Camino.
The Way, My Way aspires to be a profound exploration of personal growth set against a stunning backdrop. While it succeeds in capturing the beauty of the Camino and the camaraderie that blossoms on the trail, the uneven storytelling and lead performance hold it back from reaching its full potential. If you're looking for a lighthearted travelogue with a touch of introspection, this might be your cup of tea. But those seeking a deeply moving character study might want to revisit another film about the Camino pilgrimage, perhaps The Way starring Martin Sheen.
The Way, My Way is a pleasant meander through the Spanish countryside, but it doesn't quite reach the emotional heights it strives for.
Furiosa: A Mad Max Saga (2024)
A wild ride not to be missed
Furiosa, director George Miller's prequel to the action masterpiece Mad Max: Fury Road, throws us back into the desolate wasteland, this time to chart the course of a younger Imperator Furiosa. Anya Taylor-Joy steps into the iconic role, replacing Charlize Theron, and delivers a fiercely captivating performance that's both vulnerable and steely. We meet Furiosa as a rebellious young woman snatched from her idyllic home, the "Green Place of Many Mothers," and thrust into the clutches of the tyrannical Dementus (Chris Hemsworth in a deliciously over-the-top portrayal). In a world where warlords and sandstorms are rampant, Furiosa's struggle for survival and eventual escape turns into a relentless chase.
While Furiosa lacks the white-knuckle, nonstop action sequences that made Fury Road a cinematic adrenaline shot, it compensates with a deeper exploration of its characters and themes. The film is a coming-of-rage story, showcasing Furiosa's transformation from a victim of circumstance into the formidable warrior we know. Taylor-Joy embodies this journey with captivating intensity, her eyes burning with a determination that transcends the need for excessive dialogue. Hemsworth chews the scenery with gleeful menace as Dementus, a perfect foil to Furiosa's simmering anger.
The film's heart lies in its exploration of female empowerment. Strong women are all around Furiosa, from the enigmatic rebel leader to the resourceful young mothers of the Green Place. This focus on female power feels organic within the Mad Max universe, a refreshing continuation of the themes Miller established in Fury Road.
Visually, Furiosa is stunning. The wasteland is rendered in a palette of bleached-out golds and burnt oranges, a stark contrast to the vibrant greens that haunt Furiosa's memories. The practical effects are impressive, with car chases and stunts that feel thrillingly real, even if they don't quite match the epic scale of Fury Road's action sequences. Simon Duggan's cinematography is a masterclass in capturing the vast emptiness of the wasteland, with occasional close-ups that emphasise the raw emotion on the actors' faces.
The pacing of Furiosa does drag a bit in the middle section, and the ending, while thematically satisfying, feels a touch ambiguous. The score, while atmospheric, doesn't quite capture the operatic intensity of Junkie XL's work in Fury Road.
Furiosa is a worthy prequel that expands the Mad Max universe in a meaningful way. The outstanding cinematography, captivating themes, and powerful performances make this film one that stays with you long after the credits have stopped rolling. While it doesn't quite reach the breakneck speed of its predecessor, it's still a wild ride that fans won't want to miss. See it on the big screen for the full visual impact!
Wild Wild Country (2018)
Truth is weider than fiction!
Wild Wild Country takes you on a stranger-than-fiction journey, following a controversial guru and his devoted followers as they build a utopian city in the middle of nowhere, Oregon. This six-part documentary throws cult clashes, bioterrorism, and shocking twists at you faster than you can say "meditation." While the story's undeniably captivating, with unforgettable characters like the cunning Sheela (watch out, this one's a firecracker!), the doco sometimes feels a tad one-sided, leaving me wanting to dig a little deeper into the motivations of the elusive Bhagwan himself. Still, Wild Wild Country is a wild ride that'll have you glued to the screen, reminding you that sometimes, the truth is way weirder than fiction.
Kaibutsu (2023)
A nuanced exploration of truth and perspective
Hirokazu Kore-eda, the director of Monster, skilfully tells a tale that explores the nature of truth and perception in a small Japanese town. The protagonist of this emotional maze is Minato, a young child who begins acting strangely and worries his mother because she thinks something is off at his school. As different perspectives on the same event emerge, Kore-eda delicately crafts a narrative that challenges our assumptions about innocence, guilt, and society's role in shaping them.
The plot unravels like a multi-layered puzzle, allowing us to glimpse events through the eyes of different characters, each with their own biases and motives. Monster touches on the complexities of bullying, parent-child relationships, and the struggle to discern right from wrong. Although Kore-eda frequently addresses family themes, in this film he also addresses societal ones. The movie's tone oscillates between tense and tender, leaving us alternating between outrage and empathy.
Most of the performances are excellent, with Sakura Andô (the mother) and Eita Nagayama (the teacher) taking the lead. They deliver nuanced portrayals that give emotional heft to scenes involving institutional pressure and maternal anxiety. However, the child actors occasionally struggle to fully embody the nuances required for their roles, leading to some stiff moments that detract from the emotional weight of certain scenes. Still, when the characters' internal battles are laid bare, the results are often compelling.
The directing of Kore-eda displays his distinctive sense of understated drama, favouring realistic lighting and deliberate camera movements that allow the actors to really shine. A poignant score by Ryuichi Sakamoto deepens the tension, while the muted colour palette reinforces the film's reflective tone. Kore-eda's use of long shots provides a sense of isolation, underscoring the social fragmentation at the heart of the story.
The editing, however, could be tighter. The movie sometimes drags, especially in the second act when the layers of perspective start to take away from the story's momentum. A shorter movie might have given the storytelling a stronger thrust.
Monster is a complex study in perspective that, in the end, makes for a satisfying but occasionally tedious watch. The nuanced storytelling, strong performances from the leads, and Kore-eda's deft hand at weaving emotional tapestries elevate the movie above a standard whodunit. While it doesn't always sustain its grip, its poignant themes and layered narrative make it worth the journey. Though it falls short of its lofty goals, Monster is a thought-provoking watch for fans of slow-burning dramas that subvert stereotypes.
Candy (2022)
A character study wrapped in a small-town scandal
Can appearances be deceiving? That's the central question in Candy, a slow-burn true-crime drama following picture-perfect housewife Candy Montgomery (Jessica Biel) and her descent into darkness. Biel delivers a chilling performance, but the story itself struggles to balance its exploration of suburban ennui with genuine thrills. While the 1980s setting and pitch-perfect period details are a treat for nostalgia buffs, the pacing can feel molasses-slow at times, and the "why" behind Candy's actions feels frustratingly underdeveloped. If you're looking for a quick, suspenseful whodunit, this isn't it. But for those who enjoy a character study wrapped in a small-town scandal, Candy might just satisfy your curiosity, even if it doesn't leave you screaming.
Kingdom of the Planet of the Apes (2024)
A visually stunning, respectable sequel
Kingdom of the Planet of the Apes swings back onto the big screen, this time set centuries after Caesar's revolution. Apes now rule, with various societies scattered across the landscape. We follow Noa (Owen Teague), a young chimpanzee from the peaceful Eagle Clan, whose life is upended when a brutal ape leader, Proximus Caesar (Kevin Durand), enslaves his people. Thrown together with a mysterious human woman named Mae (Freya Allan), Noa embarks on a quest for freedom that forces him to confront the past and forge a new future.
Director Wes Ball, known for the Maze Runner series, injects the film with thrilling action sequences. The ape-on-ape combat is brutal and visceral, reminiscent of battles in Rise of the Planet of the Apes. However, the plot feels derivative at times, borrowing heavily from classic post-apocalyptic tropes. The "chosen one" narrative treads familiar ground, and some character motivations could have been fleshed out more.
The creation of its world is where Kingdom truly excels. The ape societies are diverse and intriguing, with the Eagle Clan's reverence for nature in stark contrast to Proximus Caesar's militaristic regime. The film cleverly avoids getting bogged down in exposition, letting the visuals speak volumes. The sweeping landscapes and ape cities are beautifully rendered, with a muted colour palette emphasising the harsh realities of this dystopian world. The special effects, particularly the performance capture, are seamless, making the apes fully believable characters.
The performances are generally strong. Teague portrays Noa's innocence and determination with a sincerity that anchors the film. Allan is a captivating presence as Mae, her character shrouded in secrets that keep us guessing. However, some of the supporting cast fall victim to underdeveloped roles, particularly Proximus Caesar, who feels more like a generic villain than a complex threat.
The score by John Paesano is effective, using pulsating rhythms to heighten the tension during action sequences and melancholic strings to underscore the film's emotional core. The editing is efficient, maintaining a brisk pace that keeps the story moving. But at times, it feels like the film prioritises action over character development, leaving some emotional beats unearned.
Kingdom of the Planet of the Apes is a visually stunning film with a compelling central performance by Teague. However, a predictable plot and underdeveloped characters hold it back from reaching the heights of its predecessors. Fans of the franchise will likely enjoy the return to this world, but those looking for a truly groundbreaking story might be left wanting. With a more nuanced script, Kingdom could have been a roar; instead, it's a respectable, if uninspired, sequel.
Fremont (2023)
A quiet and contemplative exporation of the immigrant experience
Babak Jalali's Fremont is a slow burn character study that lingers on the quiet struggles of Donya (Anaita Wali Zada), an Afghan immigrant trying to piece her life back together in California. Donya, a former translator for the U. S. military, now toils away writing cryptic messages for a Chinese fortune cookie factory. The film follows her introspective journey as she grapples with displacement, cultural clashes, and the ghosts of her past.
While Fremont boasts a beautiful black-and-white aesthetic, reminiscent of classic foreign films, and a lead performance by Zada that's both nuanced and deeply affecting, the narrative itself treads familiar territory. We've seen the immigrant experience explored countless times before, and Jalali doesn't offer much in the way of fresh perspectives. The plot unfolds at a glacial pace, with long, meditative sequences that, while establishing Donya's loneliness, can feel uneventfully drawn-out at times.
There are moments of genuine humour, though. Donya's sessions with her delightfully awkward therapist (Gregg Turkington) provide some much-needed comic relief, and the film's exploration of the absurdity of fortune cookie messages is clever. The score is subtle and melancholic, perfectly complementing the film's introspective tone. The black-and-white cinematography, however, while undeniably stylish, can feel a bit restrictive at times.
While the film doesn't break new ground thematically, it excels in its portrayal of the complexities of navigating a new life, particularly one built on the foundation of displacement. Zada delivers a breakout performance, capturing Donya's quiet strength and vulnerability with remarkable authenticity. Her understated portrayal is the heart and soul of Fremont.
Fremont is a gentle film, a slow, character-driven exploration of loss, resilience, and the search for connection. While its deliberate pace and familiar themes might leave some viewers wanting more, Zada's captivating performance and the film's melancholic beauty are undeniable strengths. If you're looking for a quiet, contemplative film that lingers on the emotional complexities of immigration, Fremont might just resonate with you. But for those seeking a more dynamic narrative or a deeper exploration of cultural identity, this one might feel a bit like a fortune cookie with a bland message: pleasant enough, but ultimately forgettable.
La passion de Dodin Bouffant (2023)
A slow simmer that never quite boils
Anh Hung Tran's The Taste of Things is a slow-burning drama that hinges on the relationship between a renowned chef, Dodin (Benoît Magimel), and his talented sous-chef, Eugénie (Juliette Binoche). Their bond, simmering for over two decades, finally bubbles into a quiet romance. But instead of a feast for the senses, the film feels more like an underseasoned amuse-bouche.
Let's be clear: the cinematography is gorgeous. Long, lingering shots showcase the beauty of the French countryside and the meticulous preparation of exquisite dishes. Food porn enthusiasts will find themselves practically drooling at the close-ups of glistening sauces and perfectly plated creations. The problem is, there's just not enough substance beneath the surface.
The plot, like the film's pacing, is agonisingly slow. We spend an eternity watching them cook, garden, and steal shy glances across the kitchen counter. While some may find this meditative, it left me fidgeting. The central conflict-Eugénie's hesitance to fully commit-feels underdeveloped, and the dialogue, when it appears, is sparse and repetitive. It's a shame, because Binoche and Magimel are both phenomenal actors, capable of conveying volumes with a mere flicker of expression. Here, they're simply not given enough to work with.
The film aspires to be a profound exploration of love, passion, and the art of creating something beautiful together. There are hints of this, particularly in a late scene where Dodin attempts to win Eugénie over through his cooking. But these moments are fleeting, lost in a sea of uneventful sequences. The score, a collection of melancholic piano pieces, reinforces the film's overall muted tone, which some might find soothing, but I found it downright sleepy.
There's a whiff of Babette's Feast here, a film that also celebrates the power of food to connect people. However, Babette's Feast packs an emotional punch that The Taste of Things sorely lacks.
Ultimately, The Taste of Things is a beautiful but frustrating film. If you're looking for a slow, meditative experience and appreciate food cinematography, you might find some solace here. But for those craving a story with a bit more bite, this film might leave you feeling hungry for something more.
The Last Days of Ptolemy Grey (2022)
A poignant, thought-provoking journey
Ptolemy Grey, a 91 year old man grappling with dementia, gets a shot at regaining his memories to solve his nephew's mysterious death. Although the main mystery is a little predictable, Samuel L. Jackson gives a powerful performance as Ptolemy. He portrays the character's confusion and vulnerability with raw honesty, making you forget you're watching a movie star and see a man wrestling with mortality. The supporting cast, especially Dominique Fishback as Ptolemy's unlikely caretaker, Robyn, is equally impressive. However, the plot itself meanders a bit, and the emotional payoff could've been stronger. Still, The Last Days of Ptolemy Grey is a thought-provoking watch, thanks to its stellar acting and unflinching portrayal of ageing and memory loss. So, grab some tissues and settle in one person's poignant journey through the twilight years.
Das Lehrerzimmer (2023)
A character-driven thriller that will make you think
Unassuming settings can breed surprising tension, and that's exactly the case with The Teachers' Lounge. This German thriller takes place mostly within the confines of a school faculty room, transforming the space from a place of tired mugs and lesson plans into a pressure cooker of suspicion and moral quandaries. Newcomer Carla Nowak (Leone Benesch), a passionate teacher with immigrant roots, throws a wrench into the established dynamic when she becomes determined to defend a student accused of theft. What starts as a well-meaning intervention snowballs into a tangled web of accusations, hidden agendas, and the simmering frustrations of a burnt-out faculty.
The film excels at capturing the claustrophobic atmosphere of the staff room. Director Ilker Çatak stages scenes with a keen eye for detail, making the beige walls and flickering fluorescent lights feel increasingly oppressive as the situation escalates. There's a constant sense of "walking on eggshells," with characters delivering pointed barbs disguised as casual conversation. It's reminiscent of Sidney Lumet's 12 Angry Men, but with a dash of dark humour and an added layer of social commentary specific to the German education system.
The strength of The Teachers' Lounge lies in its characters. Benesch delivers a powerful performance as Carla, with her idealism slowly crumbling under the weight of institutional pressure. The supporting cast is equally impressive, each teacher a complex study in jadedness, ambition, and hidden vulnerabilities. We see glimpses of their lives outside the school-a quick phone call to a disinterested spouse, a furtive glance at a dating app-but it's the way they interact within these walls that truly reveals their inner struggles.
The film doesn't rely on jump scares or flashy special effects. Instead, the tension builds steadily through dialogue that's both sharp and naturalistic. There's a scene where a seemingly innocuous conversation about a missing wallet explodes into a full-blown argument, showcasing the brilliance of the script and the actors' ability to deliver a masterclass in passive-aggressive hostility.
The pacing can be quite slow at times, and the ending, while thought-provoking, might leave some viewers wanting more concrete answers. However, these minor quibbles don't detract from the overall impact of the film.
This is a slow burn that lingers long after the credits roll. It compels you to question the complexities of authority, the burden of good intentions, and the cracks that can form within even the most seemingly stable institutions. If you're looking for a character-driven thriller that will make you think twice about the next time you step into a staff room, The Teachers' Lounge is a must-watch.
Freud's Last Session (2023)
A clash of titans on thin ice
Freud's Last Session aims to depict a profound intellectual showdown but falls short of delivering impactful moments. Taking place on the brink of World War II, the movie imagines a fictional encounter between psychoanalyst Sigmund Freud (played by Anthony Hopkins) and author C. S. Lewis (portrayed by Matthew Goode). The concept itself is undeniably fascinating: a clash of ideas about God's existence between these two intellectual giants, set against a world on the edge. However, the actual presentation lacks any potency.
The standout aspect of the film lies in the exceptional performances by its lead actors. Hopkins shines with his portrayal of Freud, capturing both his brilliance and his cantankerous nature with a glint in his eye. Goode holds his ground opposite the seasoned actor, portraying Lewis with a subtle conviction that makes him a worthy adversary. Their verbal sparring forms the core of the movie, showcasing moments of genuine intellectual intensity. One memorable scene involves Lewis challenging Freud's dismissal of religion as mere illusion-a moment that sparks both contemplation and emotion. But most of the focus is on Freud's talking and Lewis's quiet listening. I've read a lot about both of these historical figures, and it is hard to believe that Lewis wouldn't have been a more intellectually challenging interlocutor.
Despite the strong performances, the film falters in other areas. With most scenes confined to Freud's study, the singular setting becomes tedious, and attempts to intersperse it with flashbacks come across as contrived. The historical backdrop-the impending war-feels underutilised and fails to leave a lasting impact. The sense of urgency adds an interesting layer to the film, but it falls short of truly delving into how these events impact the characters' beliefs.
The dialogue, despite aiming for deep insights, mostly misses the mark. The film heavily relies on characters explaining their philosophies rather than letting them naturally unfold through conversation-mostly dominated by Freud's talking and controlling the dialogue. This approach makes the intellectual debates seem rehearsed, lacking the authentic spontaneity of a real discussion. It's akin to watching a tennis match where players announce their shots before making them-that's the vibe you get here.
Similarly, while the musical score is competent, it doesn't quite enhance the film as intended. It leans on typical orchestral swells to emphasise key moments without delving into deeper thematic layers that could have resonated with its philosophical themes. Likewise, the cinematography serves its purpose but lacks creative inspiration. The muted colour palette reflects the overall tone of the film but fails to deliver any visually striking moments.
Freud's Last Session aims to be a thought-provoking exploration of faith and reason. The lead performances are solid, and the premise is certainly intriguing. However, it struggles due to its confined setting, clunky dialogue, and lacklustre technical aspects. Despite a few scattered instances of intellectual stimulation, the movie's flaws overshadow them. In the end, Freud's Last Session is like a boxing match between heavyweights that turns out to be more of a lightweight showdown. Some may wish for more if they enjoy historical dramas and philosophical debates. If you're in search of a truly impactful exploration of faith and reason, you might want to explore other options.