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.

All Aboard: Review of Murder on the Orient Express

Murder on the Orient Express

Director: Kenneth Branagh

By Alex Watson

Agatha Christie has never looked so stylish. Kenneth Branagh gives his audience an enjoyable ride in Murder on the Orient Express. Showing some neat visuals and generating some lovely moments of mystique on board the cramped rail coaches. But despite sporting a wonderful heavyweight cast- we can't escape the fact that the needed tension is disappointingly absent. Branagh adds style and finesse- but this fails to really add anything new to an already well-covered story

After successfully solving a mystery in Jerusalem, world-famous Belgian detective Hercule Poirot (Kenneth Branagh) decides to take a mini holiday on board the Orient Express. While onboard, suspicious American businessman Samuel Ratchett (Johnny Depp) is stabbed to death. Although wishing to stay out of it, Poirot is the only man on board who can find the killer. This will be his most challenging case yet because all the passengers seem to have their own past demons.

Murder on the Orient Express is a very beautiful looking movie- thanks in part to the colorful and scenic photography by DP Haris Zambarloukos. Branagh definitely has the look of the era down and he is clearly having a ball playing the egotistical but brilliantly minded detective. Nailing down the more tricky aspects of his persona (including his obsession with having two perfectly symmetrical eggs)- Poirot is a nemesis for any criminal. When the passengers are loaded onto the train in Istanbul, the tension begins to build wonderfully. Ratchett emerges as a rather crass and bullying figure who is beginning to fear for his life. The passengers nervous and scornful looks they pass at each other give sparks of mystery.

When the big moment hits- the air seems to go out of the picture. The suspense seems to feel flat and although the legendary reveal is still clever, in this adaptation it just feels predictable. The cast that Branagh has assembled is wonderful to watch, but great names such as Judi Dench, Derek Jacobi, Daisy Ridley, Michelle Pfeiffer, Penelope Cruz, Josh Gad and Willem Dafoe are confined to bit parts. As the mystery unravels there are some fine moments of emotion on display. Josh Gad, in particular, comes up with some fine acting which gives depth to a complex character. Poirot already seems to have an idea of who the killer is, but knows he must tread carefully. The claustrophobic setting of the train carriages is still nerve-wracking in places. With the train derailed by a snow drift, Poirot knows every step he takes could be dangerous.

Classic mysteries like Murder on the Orient Express are rarely seen in today's film world. Although Branagh still gives us a great middle of the road thriller, you can't help feeling that this tale feels dated. Already well adapted for film and television, Branagh is unable to bring any new to proceedings. Any newcomers to this story will be able to guess to the big finale from a mile away- partly because Poirot gives red herrings throughout. Although there are some missteps its a picture that still entertains and on the visuals and star power alone, this is a good journey onscreen.

Kenneth Branagh does an interesting new spin (and new mustache) as the famous Belgian Poirot. A more physical version of this character, Branagh is unafraid of doing more heavy lifting that sitting around. He wonderfully shows the more quirky side to this character and is unafraid to give light to his arrogance. However, TV's David Suchet remains the perfect Poirot. In the supporting ranks, we are given some performances to savour. Michelle Pfeiffer, in particular, is glorious as the conflicted Caroline Hubbard. Derek Jacobi still shows he has a presence that few veterans as the tricky Edward Masterman- his character alone deserved more screen time.

Murder on the Orient Express is a mystery that is still rightly regarded as a classic. However, despite Branagh's best efforts, it doesn't feel any newer on screen.

The Happiest Place on Earth: Review of The Florida Project

The Florida Project

Director: Sean Baker

By Alex Watson

A heartbreaking and raw look at the playfulness and naivety of youth, Sean Baker's The Florida Project is bound to break hearts. Previously gathering huge acclaim for his iPhone shot movie Tangerine, Baker emerges as a real indie talent. Set in Orlando, Florida in the shadow of Disneyland, this is one place where dreams and lives go to rot. Willem Dafoe and six-year-old actress Brooklynn Kimberley Prince give performances that will no doubt be given consideration come awards season.

In the run-down Magic Castle Motel, six-year-old Mooney (Brooklynn Kimberly Prince) is a talkative and troublemaking girl who lives with her heavily tattoed and foul-mouthed mother Hailey (Bria Vinaite). Alongside her friends Scootey (Christopher Rivera) and later Jancey (Valeria Cotto), they spend their days getting up to all kinds of mischief. Motel manager Bobby (William Dafoe) is continually concerned about the pair, particularly when it becomes clear Hailey might be up to suspicious activity.

From the very first frame of The Florida Project, there is a grimy yet carefree approach. When we meet Mooney and Scootey, they are cheerfully spitting off the side of a rail onto another person's car below. When caught in the act, they gleefully spirit away. When confronted about her daughter's behaviour, Hailey can only reply with a barely contained smirk. Mooney is a girl full of energy but she is also a bundle of trouble. Living in a roadside motel that looks like a welfare version of the Grand Budapest Hotel, there are numerous abandoned buildings to cause havoc and food places where they scrounge money off locals. Despite her surroundings and obvious poverty, the little girl finds joy and wonder all around. Hailey, on the other hand, is a ticking time bomb. Having a fast mouth and no filter, her aggressive style frequently gets them into trouble. Fired as from her last job, she now seeks to come up with rent money every month. Desperate she hustles and pleads tourists at nicer hotels to buy her knockoff perfume and indulges in some other more... illicit methods.

The side story of Bobby is one that gives the movie a more nurturing side. A man with a calm and rational approach to life, Bobby has a hard time keeping up appearances at this decaying motel. One of the few people to show Hailey any ounce of kindness, Bobby is the father figure Mooney desperately needs. He also a protector of the weak, in one scene he at first kindly then furiously sees off an old paedophile who approaches some kids.  The struggles of the lower class is the most obvious theme of Baker's movie. Hailey is a woman barely getting by and there are no jobs on offer. Even people like the jaded cab driver who drives a bickering couple to the motel is struggling to get paid. Mooney however, thrives in her environment but her lack of discipline soon causes issues. Hailey throughout makes no attempt to correct or punish her daughter and this causes a huge strain with her only friend Ashley (Mela Murder).

Inevitably The Florida Project descends into a heartbreak and tragedy in its final act. All the way you sense that something terrible is building, but we know we are powerless to stop it. Baker includes some moments of pure joy and beauty, one particular scene we see Hailey and Mooney happily messing around during a rainstorm. In this one moment you feel the bond between mother and daughter and it stings us to the core. As a person, her mother is more of a handful than her daughter. But you know her love for Mooney is absolute and she strives to keep a roof over their head no matter what. Bobby is also a man with his own issues as he is regularly forced to evict troublemakers and has a strained relationship with his own son (Caleb Landry Jones). Baker stretches our emotions to the maximum- although the final scene of the movie will draw a more divisive response.

Willem Dafoe gives one of the finest performances of his career as Bobby. One of the movie's more caring figures, Dafoe injects a great deal of warmth into this picture. Young Brooklynn Kimberly Prince is the standout performer as Mooney. A real force of nature on screen, this kid is both extremely sassy but also so adorable and sweet. Prince projects the movies childlike innocence and seeing the world through Mooney's eye is both fascinating and devastating at the same point. Bria Vinaite is also magnificently as the grenade gobbed Hailey. Discovered by Baker on social media, this actress is like a hurricane of destruction throughout. Her performance is one that is wonderfully natural and feels almost like she is a subject of a documentary than a feature film star.

The Florida Project is one of those indie efforts that really knocks you off your feet. Sean Baker is a real talent to watch and we wait for his next movie in anticipation.