The Fame Monster: Review of Vox Lux

Vox Lux

Director: Brady Corbet

By Alex Watson

As a director, Brady Corbet is one of the most intriguing talents to hit our screens in recent years. His debut 'Childhood of a Leader' was a gripping yet baffling account of a child finding a terrifying ego. His follow up Vox Lux in some ways is a fine commentary on the birth of celebrity and the corruption that follows. Despite a fine set up and a masterful central turn by Natalie Portman, it just feels like a wasted opportunity. 

In 1999, Celeste Montgomery (Raffey Cassidy) is a 14-year-old girl who is a survivor of a horrific school shooting. At the memorial for the victims, she sings a poignant and almost poetic tribute and instantly becomes a star. Years later, Celeste (now played by Natalie Portman) is now 31 and is preparing for a homecoming gig on Staten Island. However, a mass shooting occurs in a beach resort in Croatia which appears to have been inspired by one of her previous videos. Along with her colorful and constantly scrutinized personal life, how will she juggle another tragedy?

The first half of Vox Lux is where the movie's strength lies. Corbet jolts his audience early during a haunting opening sequence in 1999 where a disturbed boy turns up to a high school music class and immediately starting shooting people. Celeste tries to connect with him and refuses to succumb to fear, but the boy leaves her with a permanent neck scar. During the first act, a constant and personable voiceover by Willem Dafoe lets the audience fill in certain gaps. Celeste's rise to fame is a fascinating commentary on the corruption of fame as she goes from an innocent school girl to singing progressively more provocative lyrics. Recuperating in hospital from her wounds, she composes a song with her sister Eleanor (Stacy Martin). Soon the song strikes a chord with the nation and becomes as the narrator says with amused disgust "a hit!" 

Managed by an ego-centric, foul-mouthed and drug-fueled manager (Jude Law), her early misadventures will be making a lasting impact such as an ill-judged fling with a grungey British guitarist. Celeste goes on to become a household name while Eleanor secretly pens her songs and the pair drift apart after a notable mid-story incident. In the first half, Corbet crafts a story that is striking and free from a cliche, but sadly is unable to maintain this momentum going into the second half. Celeste has become the hot mess that so many young starlets are unable to avoid and after an unfortunate traffic incident- the shooting in Croatia (the killers wear masks similar to one of her prior videos) has given another meal for the media to feast upon.

Part of the problem with the final act of Vox Lux fails to bring the picture full circle and never makes full use of its great potential. Tensions rise during this stretch as Eleanor and Celeste clash over her teenage daughter Albertine (also played by Cassidy)- Celeste had a kid young who was raised by her sister while she ascended to the top. While Corbet throws the logs on the fire, the sparks never rise and things just burn out. Corbet almost seems to want to avoid answering the key questions he has forced his audience to mull over. The abruptness and ambiguity of its ending frustrates more than it fascinates us. Climaxing with an extending concert film (original songs by Sia and choreographed by Portman's husband Benjamin Millepied) is well polished but unnecessary. Corbet's movie has the quality of production and a promising premise to make a great movie, but despite some great camera work and cinematography by Lol Crawley- this fails to hit the high notes.

While she only arrives late in the day, Natalie Portman is excellent as the jaded and grenade gobbed Celeste. While her Staten Island accent is perhaps overly pronounced, Portman is mesmerizing as the immature and insecure star. Showing how the pressures of fame have stripped her innocence away and turned her into a barely coherent soul. However, it's Raffey Cassidy who steals the movie away from her co-star with an assured and confident turn. On double duty, Cassidy gives two separate performances which are both equally brilliant. As the young Celeste she shows the innocence and naivety of the fame that encapsulate her while as Albertine, she shows a young girl whose unable to open up to her self-centered mother. Impressing in movies such as The Killing of a Sacred Deer, Cassidy is one for the future.

Vox Lux is a movie which leaves us wanting more in the worst possible way. Brady Corbet will be an indie king someday, but this picture is a brief misstep what could be a promising career.

Stupify: Review of Fantastic Beasts: The Crimes of Grindelwald

Fantastic Beasts: The Crimes of Grindelwald

Director: David Yates

By Alex Watson

Two installments in and the Fantastic Beasts franchise is still struggling to find sure footing. The first outing had some kinks but Fantastic Beasts: The Crimes of Grindelwald fails to iron them out. While there are individual moments that impress, the amount of CGI finesse cannot disguise the thinly layered plot and the lack of narrative. The wizarding world is a place of limitless potential, but in the hands of David Yates, its effect is starting to slip.

Permanently banned from international travel after the events in New York, Newt Scamander (Eddie Redmayne) is thrust back into the fight against evil by old professor Albus Dumbledore (Jude Law). Meanwhile, evil wizard Grindelwald (Johnny Depp) cunningly escapes from prison and sets his plan to have pure-bloods dominating both the wizard and muggle worlds. There is also the added problem of troubled young wizard Credence (Ezra Miller).

Fantastic Beasts: The Crimes of Grindelwald is a rather tame beast throughout. Often promising more than it delivers, we are left with what feels like a build up for the next installment. The first half certainly delivers some stunning pieces- such as Grindelwald's daring escape from a flying carriage. This picture also makes the most of its 1927 Paris setting and the cinematography by DP Phillipe Rousselot is among the movie's biggest accomplishments. Sadly JK Rowling's script is content just to plod along exploring any number of side plots. Newt is still dealing with the fallout from his New York adventures and is unwilling to 'pick a side' with the upcoming good vs evil fight. This character while the clear lead is oddly rather bland and unappealing. Newt still pines for his crush Tina (Katherine Waterson) and a large portion of the movie teases the 'will they/ won't they' business.

Some of the major plot points hit- such as muggle Jacob (Dan Fogler) attempt to keep his romance to Queenie (Alison Sudol) on track. A mismatched pair as Queenie is pure blood, this gives us the very definition of a doomed romance. Credence is a character that everyone pursues- but in reality, his character is given little to do except look sullen. Grindelwald while a scene grabbing villain is restricted to only a couple of key scenes. His appearances provide some bursts of colour and potential for an epic showdown. This lack of inclusion proves frustrating and the movie seems more invested in bringing to light the backstory of Lita LeStrange (Zoe Kravitz) than it does with developing its villain. While Dumbledore's inclusion does throw more light on what is ultimately a very bold and tricky wizard, he is given barely any time to make an impact.

Perhaps the most frustrating aspect of Fantastic Beasts: The Crimes of Grindelwald is its lack of resolution. Towards the end, Grindelwald holds what is arguably a mass pure-blood rally. Rather than going away satisfied after a mass magic battle and some closure thrown in for good measure- we are instead left confused and deflated. What feels like a blockbuster finale is in fact rather flat and lifeless affair. There is a cliffhanger feel and perhaps the third outing with finally satisfy all tastes. David Yates is now on his sixth outing in the wizarding world. He did a stellar job over the final four Harry Potter films. So far, the Fantastic Beasts franchise has been less kind to his abilities and this begs the question if he should make way? Some blockbusters know how to leave audiences wanting more- this picture does it the wrong kind of way.

Eddie Redmayne while a capable actor doesn't feel like a good fit for Newt Scamander. Often struggling to completely convince as the awkward and bumbling wizard, Redmayne has yet to find the groove of this character. Katherine Waterson is one of the most underrated actresses on the planet. Once more she is shortchanged in a big movie and her Tina Goldstein is given little chance to make an impact. Johnny Depp however, despite a lack of screentime is thoroughly commanding as Grindelwald. There was controversy galore over his casting, but Depp is very much the villain the series needs.

Fantastic Beasts: The Crimes of Grindelwald is a movie that promises a great deal but seems content to let its audience sit and wait.

The Man Who Would Be King: Review of King Arthur: Legend of the Sword

King Arthur: Legend of the Sword

Director: Guy Ritchie

By Alex Watson

The fast paced, action packed feel was well suited to Guy Ritchie's adaptations of Sherlock Holmes and The Man From UNCLE. Experimenting with this approach again is what hinders King Arthur: Legend of the Sword. While Ritchie's film gives short bursts of exhilaration, its style feels ill-suited to the story. A planned six-movie saga feels unlikely to go ahead after this first dull and confused piece. In this century, this mythical tale cannot seem to catch a break.

Arthur (Charlie Hunnam) is an orphaned boy raised in a brothel in Londinium. Unaware of his past as the son of the fabled King Uther (Eric Bana), Arthur miraculously pulls the sword Excalibur from a stone. His uncle Vortigern (Jude Law) has claimed the throne and rules the land with an iron fist, so is none too pleased to learn of his nephew's return. Arthur is forced to go on the run with a band of rebels including a Mage (Astrid Berges- Frisbey) all the while questioning his destiny.

The reason for the failure of King Arthur: Legend of The Sword (now projected to lose $150 million) is that Ritchie tries to mash too much together. His opening visuals are absolutely stunning and seeing massive 300-foot elephants descend upon Camelot is a real eye-opener. Witnessing first hand the power that Excalibur wields, naturally, we assume Ritchie is setting us up nicely. After Vortigern steals the throne by brutally usurping his elder brother, Arthur is forced into a tough urchin life in Londinium. Watching him grow from a scared young pup to a fist-fighting protector of the weak feels massively out of the place for this film. Ritchie quickly gets the film bogged down as we become accustomed to hearing actors shouting at each other. Part of the issue is how the picture is shot, cinematographer John Mathieson's murky and dark photography makes the visual effects and action feel underwhelming.

It is never quite certainly what the prime focus of this film really is? There is a lot of hocus-pocus sorcery going on and some ill-advised narrative mix-up. You get the sense Ritchie is perhaps trying to be too clever with this picture when a more straightforward approach is needed. A solid middle act does redeem the movie in some ways as Arthur toils to become the great king he is destined to be. The moment Arthur finally lifts Excalibur should be one of great triumph, sadly it is ruined by an embarrassing David Beckham cameo as a Cockney soldier. Although there some nice thrills as this group of misfits plot and scheme against Vortigern, it's just not enough. Ritchie still proves to be adept at set pieces but this movie cannot live off short term thrills.

Vortigern has the potential to be a real menacing villain, unfortunately, the material just isn't there for him to make an impact. He is cold blooded for sure, just look at how he obtains the crown. Aside from some marvellous magic, he just feels a little forgettable. Arthur himself doesn't come off wonderfully either. Although heroic and brave, his smarmy and cocksure arrogance makes him difficult to warm too. For an origin's story we never really get a grasp at his backstory aside from a rushed montage. His difficulty dealing with the power of Excalibur is well documented, but he never fully grows into the kind of king we expect. Then again, Ritchie and co had ideas of slowing his development over a six-pack of films. With a proven A-list director and a good supporting cast, you get the feeling this is a big missed opportunity.

Charlie Hunnam once again comes off as the movie's weak link. Although he handles the physical side of this character well, his smartass portrayal of this King is tough to swallow. There is little doubt Hunnam has great presence, he is just not castable in everything. Jude Law clearly has a ball hamming it up as Vortigern. But even his best thespian efforts cannot rescue this character from obscurity.

King Arthur: Legend of The Sword will be one of the more confusing blockbuster efforts 2017 has to offer. Guy Ritchie is undoubtedly a great action director, but his lack of focus makes this one reign we hope doesn't continue.

The Spy Who Came in From The Cold: Review of Spy

Spy

Director: Paul Feig

By Alex Watson

Thanks to the charms of the reliable Melissa McCarthy, Spy is a funny and likeable parody. Director Paul Feig doesn't deliver anything groundbreaking in terms of formula. But in terms of sheer belly laughs and wit, it succeeds admirably. Its leading character Susan though, is one that audiences are drawn to and will certainly be back for more installments.

Susan Cooper (Melissa McCarthy) is a desk bound CIA agent who assists super spy Bradley Fine (Jude Law). But when Fine goes MIA, Susan finds herself pushed into a field agent role. She is tasked with tracking villians Rayna Boyanov (Rose Bryne) and Sergio De Luca (Bobby Cannavale). Together the pair know the location of a devastating nuclear bomb. But is Susan really ready for the challenge ahead?

Rather than just letting Susan being the bumbling overweight and clumsy hero, Paul Feig turns things on their head makes her an butt-kicking action star. At first she is the underwhelming office lady whom everyone assumed to be a crazy cat lady off screen. Alongside her equally downbeat friend Nancy (Miranda Hart), she is kept firmly at her desk and laments her crush on Bradley not being returned. Though she whispers helpful instructions through his ear piece and keeps his life safe, she knows this maybe as good as life gets.

The second act of Spy thankfully turns over a new leaf and allows Susan to run wild with flying groin kicks, punches and any number of sassy insults. In rich villain society, she really is the fish out of water and causes ripples of panic whenever she enters a room. But no matter what she does or any errors thrown, she only succeeds in becoming likeable throughout. Same cannot be said for the villains of the piece. Rayna while cold and glamorous is a rather cookie cutter villain, whose is more like a playground bully than an icy international criminal.

Thankfully this movie has enough gas in the tank to see it through the whole run. No matter where the action takes us, Rome, Bulgaria or even the US, the laughs keep on coming. Also the action sequences are equal to even some more established action franchises. One scene she Susan in a kitchen battle with both a knife and frying pan. Full marks for creativity there, but seeing her hang from a helicopter is a finale that works on all levels. If only for the hilarious 50 Cent cameo that comes alongside it.

Melissa McCarthy is one making a great career out of these type of films. As Susan she brings us a character that has a superbly sharp tongue along with a set of skills that would rival Jason Bourne. Expect a return for this character very soon! The supporting cast is also top notch, with Jude Law leading the way as self-serving agent Bradley. Very much a satire of the Bond franchise, Law demonstrates his comedic ability to poke fun at himself. But it is Jason Statham who steals the show with an hilarious turn as Luke Ford. With the subtly of a brick and loudly bragging about his exploits, Statham has a ball and I can only hope he earns a spin-off from this.

Spy is a movie that is impossible to dislike and there will most likely be any number of sequels in future. Melissa McCarthy is proving to be one actress that can stay fun no matter the material and I look forward to the exploits of Susan in years to come.