Modern Romance: Review of Disobedience

Disobedience

Director: Sebastian Lelio

By Alex Watson

Sebastian Lelio is a director who seems to know the right way to produce heart-wrenching drama. His Oscar-winning 'A Fantastic Woman' showed a trans-woman who is openly oppressed while dealing with tragedy. In his new effort Disobedience, he focuses his attention on another forbidden romance. Throughout this picture, there is a repressed emotion that builds to almost stifling levels. Based within the Orthodox Jewish community, we see a love that is in every way forbidden but also deeply desired. Unfortunately, what should have been a blueprint for a movie of high feelings and tension instead has a rather deflated feel.

After years away in New York, Ronit Krushka (Rachel Weisz) returns home to her old community in London following the death of her Rabbi father. Previously ostracized for admitting her feelings for old flame Esti (Rachel McAdams), her return immediately causes friction amongst the Orthodox community. She also learns that Esti is now married to their old childhood friend Dovid Kuperman, who highly favoured by her late father. Both Ronit and Esti are still drawn to one another, but with so much at stake- can they resist?

While his previous effort had sparks popping frequently, Disobedience is a move that will likely polarize viewers. Lelio is well suited to the movie's emotional core and he does a fine job of portraying the mixed reception Ronit receives when she first returns. Declared dead by her old father and cast aside to the memory of the past, she is always fighting to exist within the community she grew up in. When she encounters Esti, Lelio does bring some wonderful repressed feelings to the surface. The problem we face here is that movie takes far too long to bring things to where they need to be. We understand early on that Esti is a woman trapped in a very traditional world and that Ronit's more free-spirited nature could bring both of them ruin. The sad part, this is where the movie's main focus seems to lie and Lelio spends too much time wallowing in this buttoned-up desire.

Part of the issue in this movie is the subject matter itself. Frequently we get the sense that this movie isn't entirely confident portraying the Orthodox community and instead shows it as a rather narrow-minded and confrontational one. Dovid, in particular, suffers as a supporting character and throughout we see him a staunched traditionalist whose views will inevitably collide with his wife's. Esti is confined to what seems like a miserable existence, but we never truly get the sense of why she is sticking it out? While is picture does portray some of the dangers of Esti and Ronit romance, it feels like it is simply running down the clock until the final confrontation between characters.

When showing the desire this romance holds, the picture feels more in its element. Ronit and Esti share a passion that has never dwindled. Both yearn to live a life of happiness, but there is an inevitability and fear of breaking free of what Esti knows. While we want this to be the great love tale of 2018, Lelio's remains far too focused on the differences between characters. During the movie's finale, the previously repressed feel is finally broken and during this stretch, there are finally bursts of colour. Sadly, we feel this is too little too late and we are left to reflect on what could have been.

Rachel Weisz is an extremely talented actress, but this role feels like familiar ground for her. She is used to playing these sort of outspoken and rebellious roles. While as usual, she has a strong presence on screen, Weisz doesn't feel like she is testing herself. Rachel McAdam's Esti is also slightly underwhelming and this character feels like a rather blank slate. One of Hollywood's most consistent actresses, she is fine in this role and it is a more daring one that she has previously played. However, McAdam's is giving precious little in return. Alessandro Nivola does a great showcase in subdued feelings and his Dovid is the one we come away feeling worst for. A committed yet old-fashioned husband, he simply wants his wife to stay.

Disobedience both delights and frustrates in equal measure. Sebastian Lelio is a magnificent director, but this picture feels like a mismatch for him.

Punch it, Chewie: Review of Solo: A Star Wars Story

Solo: A Star Wars Story

Director: Ron Howard

By Alex Watson

The filming of this production made as many headlines as the release did. Due to numerous creative conflicts, original director's Phil Lord and Chris Miller were dismissed and Ron Howard was brought into the steady the ship. As a Lucas disciple, Howard was the perfect man to bring Solo: A Star Wars Story to life. This picture is a fun prequel with an impressive cast to boot which provides a must needed dosage of Star Wars fun. However, fans may find themselves asking whether this picture adds anything new to this universe?

Han Solo (Alden Ehrenreich) is a talented but undisciplined pilot. Forced to flee the slums of his home planet of Correlia and abandon his lover Qi'ra (Emilia Clarke), Solo sets about reclaiming what he has lost. Gradually, he finds his way into the company of criminal Tobias Beckett (Woody Harrelson) who shows him the ropes of making serious money. Soon he will find himself boarding a ship named the Millenium Falcon and meeting his furry friend Chewbacca (now played by Joonas Suotamo).

Solo does a great job of reminding us of the scallywag charm that this scruffy looking nerfherder possesses. His early days of being a 'scrumrat' under the thumb of worm looking crime boss Lady Proxima (voiced by Linda Hunt) show a young man with barely any restraint. An impulsive yet forward-thinking rogue, his potential never fully blossoms until he encounters Beckett. This man frequently remains morally ambiguous throughout but Han treats him like the brother he never had. Tacking on a galactic heist theme could well have sent the plot spinning- but in the hands of Howard, it is utterly thrilling. Watching a gutsy heist on top of a speeding train is just one of the well-executed set pieces. The script by Empire Strikes Back helmer Lawrence Kasdan and his son Jake does tend to veer off the rails at points- in particular, its tendency to produce underwritten characters for extremely brief screen time.

From a nostalgia point of view, this story will satisfy tastes and due credit to the Kasdan duo who from very little have produced a believable backstory for our hero. It effectively answers any remaining questions Star Wars may have had before viewing. His alliance with Chewie is one that is excellently conveyed. At first, the pair are locked in combat, but they crawl out of the mud as reluctant partners. Ever wondered how on earth Han could understand this giant walking carpet? Well now's your chance! Lando Calrissian (Donald Glover) is also another resounding success and thanks in part to a silky yet pedantic performance from Glover, this smooth character breathes life into this prequel. Qi'ra however, doesn't quite succeed and this is mainly down to the character's having a severe lack of chemistry. We cannot feel any longing or connection whenever the pair appears onscreen and this is a love that is key to the plot!

While Solo succeeds on thrills, its script get knotted up with constant twists and double-crosses towards the film's climax. The unfortunate thing here is that we can see them coming from a mile away. The main cast produces a tandem of excellent characters who help carry this film on their shoulders. Sadly, there are a bunch of supporting characters who fail to hit the mark! Phoebe Waller-Bridge's continually griping L3-37 fails spectacularly at the comic relief aspect. What really lets Solo down is a lack of a convincing villain. Paul Bettany's crime lord Dryden Vos has presence but outside of looking threatening, he adds little to proceedings. Despite these minor glitches, there is still promises for these stand-alone adventures in the Star Wars universe. Who knows what they will cook up for the upcoming Boba Fett feature?

There are few actors who would have been a better choice to play Han Solo than Alden Ehrenreich. After impressing in the Coen Brother's Hollywood satire 'Hail Caesar', Ehrenreich has the gusty charm that Solo badly needs. Showing his trademark roguish smirk and carefree recklessness, Ehrenreich has captured the spirit of a legend. Woody Harrelson once more shows that he is Hollywood's go-to man when it comes to complex supporting characters. Beckett is a tough character to bring to life, but Harrelson manages to make his confusing morality seem plausible. Donald Glover nearly steals the show from under Ehrenreich but unfortunately, he isn't given nearly as much screentime as he deserves.

Solo is a movie that despite its problematic production is a much-needed dosage of Star Wars joy that will conquer our addiction until Episode 9 comes around! Resist the urge to hug the screen and yell "HOW YA DOIN' YA PIRATE?"

Red Mist: Review of Deadpool 2

Deadpool 2

Director: David Leitch

By Alex Watson

Deadpool proved that when played purely for laughs, that Marvel universe still had life in it. Deadpool 2 shows that this character is the funniest weapon in its arsenal. Again its storytelling does present certain flaws, but these are all happily overlooked. New director David Leitch (one of the two filmmakers who gave us John Wick) proves adept at finding a good balance between entertainment and violence. The marketing campaign alone deserved an Oscar and the finished product will have you ribs firmly tickled.

Still happily settling scores and making his usual brand of jokes, Wade Wilson/Deadpool (Ryan Reynolds) is living the good life with fiancee Vanessa (Morena Baccarin). Soon afterward though, his life begins to get turned upside down and the emerge of vengeful future warrior Cable (Josh Brolin) doesn't help matters. There's also the matter of an angry abused teenager Russel (Julian Dennison) who has quite a temper and seems to like playing with fire.

With a blood splattering introduction soundtracked to Dolly Parton's 'Nine to Five', the tone is set immediately. Deadpool 2 has lost none of its original's black humour and still isn't afraid to poke fun at the X-Men universe. Though the tone does wander slightly from the path as Wade Wilson finds himself in a very difficult place emotionally (spoilers to be withheld) and spends the movie in limbo. During this movie, the notion of having a family is continually put forward and as a loner, Wade is not used to considering others. Cable has come from the future to avenge his own families murder and he proves to be a thunder busting nemesis. With his metallic arm and continually moody scowl, his motives remain wonderfully ambiguous (though there is a wonderful Thanos joke thrown in for good measure).

Russell on the surface appears to be little more than a minor sidekick. Cleverly, his importance to the story becomes more and more significant. Introducing himself in a blaze of fire, you can literally see the fury in his eyes. Abused by his carers and branded an abomination, Russell has more than just attitude problems. Wade proves to be the catalyst here again as an offhand comment will set this young man on the road to ruin. For a movie that prides itself on lower humour, the emotional core runs deep in this one. Our hero spends the movie pushing away any sense of family, but his gradual realization sets about some truly touching moments. Also, this picture finds room to introduce more vital players to the Deadpool saga such as the wonderfully sassy Domino (Zazie Beetz) who finds a way onto the team as she's 'lucky'- something she constantly proves despite Deadpool's gripes. Plus keep an eye out for a blink and you'll miss it cameo from an A-list star!

Deadpool 2 might be the funniest picture of the summer, but sometimes these laughs can distract from the story. As Deadpool mentions at one point "that's just lazy writing!" and in places, this is likely true. While Cable is a vast improvement over the poor villains of the first piece, you feel the story perhaps wastes too much time over his bickering with Deadpool. Several minor characters are written in for laughs only to be killed off minutes later. The comedic touch, for the most part, is gold, but certain jokes just feel too drawn out- the Basic Instinct sequences where Wade 'full shirt cock's it' is funny but ultimately ends up feeling like one of those overly long Family Guy gags. However, when you so richly rewarded for your time, these gripes feel meaningless in the long run.

Ryan Reynolds is clearly having the time of his life playing this character. Happy to mock his first outing as the silent variation of this character, Reynold is becoming the master of self-parody. Even when matched against big-budget veteran Brolin, Reynold's somehow always comes out on top. He also proves excellent at handling the movies tear jerker moments too. Josh Brolin is also a welcome addition as the grizzled Cable and skillfully has found his way into yet another Marvel franchise. Kiwi actor Julian Dennison steals the supporting honors though. So memorable in the hilarious 'Hunt for the Wilder People', Dennison transforms from being a moody teen a wounded tiger in short measure and slowly becomes the future villain everyone fears.

Deadpool 2 is likely to become Marvel's flagship for comedic gold in future. Stay tuned as well for possibly the most hilarious post-credit sequence yet.

The Hand That Rocks the Cradle: Review of Tully

Tully

Director: Jason Reitman

By Alex Watson

Jason Reitman and Diablo Cody movies nowadays are a little unpredictable. His new effort Tully proves that he is still great at portraying the strains of the everyday family. However, when we lift the hood on this impressive drama there are still a few questions to be had. Anchored by a stunning Charlize Theron, this picture is not short on talent or power but what starts as an impressive story by Cody runs into trouble just before the finish line.

Marlo (Charlize Theron) is a jaded mother of two who is expecting a third child. Having to deal with an autistic son and constantly stressed, brother Craig (Mark Duplass) suggests that she hire a 'Night Nanny' to assist her. Despite some resistance, Marlo eventually relents and soon Tully (Mackenzie Davis) arrives. Soon Marlo's life becomes one of peace and routine, however, she still remains suspicious of the new lady in the house.

For the most part, Tully is a very sweet and well-observed film and the first half of the movie firmly emphasizes the difficulties Marlo encounters. While her hubby Drew (Ron Livingston) gets to have his life of work and late night video games, Marlo is juggling a son whose school is dropping hints he may not suitable for their environment. Also, she is heavily pregnant and slightly apprehensive about this unplanned pregnancy. During this opening half, anyone considering a large family may think twice after seeing Marlo reach boiling point. Feeling a shadow of her old, freer self, this character is identifiable to many as she comes across as the jaded and worn down mother who believes her life is a series of 'what if' questions. Under Cody's script- she comes across as a well rounded capable of having a wicked sense of humour but also able to scream the house down when pushed.

When Tully arrives, she comes across as almost a hipster version of Mary Poppins. With her good looks, a variety of random facts and continually peppy persona, she's everything Marlo dreads as she represents all she has lost. "You're like a book of fun facts for unpopular 4th graders." she muses to the new charge. Together the two begin to form an unusual bond and slowly Tully begins putting on a magic touch by baking cupcakes, giving sex advice and thankfully giving the stressed Marlo a break. What has been a very believable and touching story so far begins to become unstuck when the nanny appears. The story takes on an almost fantastical feel and the events start to swerve in all kinds of bizarre directions. Such as one wild night where Marlo and Tully ditch their lives to go party in Brooklyn with disastrous results.

Then we come to the ending which in many reviews has been pinpointed as the picture's major flaw. It is a clever twist by Reitman and Cody, but its delivered with the subtly of a sledgehammer. Some view this as a ham-fisted take on mental illness and ultimately it leaves our story with a number of questions and plot holes. After underwhelming with emotive drama's such as Men, Women and Children and Labor Day, Tully shows a return to form for Reitman. This is a movie that can conjure up a variety of emotions, but during the second half, it feels like he has lost control of the wheel. Which is a shame because this movie is has a wonderful naturalistic charm which if properly cared for could have been an awards contender.

Charlize Theron gives a powerhouse performance that is easily her greatest since she rode the Fury Road. Marlo is a character who is so real it hurts and Theron does a masterful job of expressing her frustrations, self-doubts and her desire to have more fun. Whenever on screen, Theron is sensational and becomes the movie's pulse. Previously shining as the narcissist and vulnerable Mavis in Reitman's prior film Young Adult, Theron proves she is his go-to actress. Credit too to Mackenzie Davis who also rings in a strong supporting turn as the offbeat Tully. Breezing into their lives with an easygoing charm, Davis breathes fresh air into this tired life and is infectious throughout. Best known for her supporting turns in big movies like The Martian and Blade Runner 2049, this picture finally shows the skill she demonstrated in TV shows such as Halt and Catch Fire and the notable Black Mirror episode San Junipero.

Tully is an effective movie by Jason Reitman, but it ending will prove divisive among viewers.