2018: A Year in Review

To say 2018 has been a rollercoaster year is putting it mildly. Marvel once more ruled the summer roost with both Infinity War, Black Panther, and Ant-Man and the Wasp ringing the box office bell. Lady Gaga showed that she is worthy of awards contention and movies like Hereditary and A Quiet Place showed us that a new breed of horror is rising. There were welcome returns for both Spike Lee and Paul Schrader and Damien Chazelle became a Hollywood elite at only 33!

Here is Closer to the Edge's Best of 2018

Top 10 Movies of 2018 

1. A Prayer Before Dawn (UK, USA, France, China, Dir: Jean-Stéphane Sauvaire) 

Quite possibly the most overlooked treasure of 2018, Jean-Stéphane Sauvaire created a masterpiece which blended gut-churning tension with a thoroughly uplifting theme of redemption. Based on British prisoner Billy Moore's experience being locked in Thailand's notorious Bangkok Hilton, the movie orbits around a stunning central turn from Joe Cole. Often a shockingly violent and unpleasant watch, Sauvaire makes us unable to look away.

2. Green Book (USA, Dir: Peter Farrelly) 

A road trip movie with a big heart, Peter Farrelly takes the story of two men traveling the deep south and steals our hearts. With two big central performances from a hulking Viggo Mortensen and a refined yet introverted Mahershala Ali, the movie finds its fair share of laughs. An effective and moving story about the friendship of renowned pianist Don Shirley and Tony Vallelonga- Farrelly shows us how two men from vastly different worlds can forge a bond that will last a lifetime.

3. First Man (USA, Dir: Damien Chazelle) 

Unlike many biopic films, First Man showed us a very different side to the legend that is Neil Armstrong. Ryan Gosling was out of this world as the famed Commander and showed us with gritty realism the shy side of this man and his reluctance to embrace the celebrity thrust upon him. Chazelle also did a fine job of emphasizing the danger and risk that the 'Space Race' bestowed upon its pilots and how a safe return to Earth wasn't guaranteed. Riveting viewing which put its audience through the wringer.

4. BlacKkKlansman (USA, Dir: Spike Lee) 

After so many years of providing middle of the road movies, Spike Lee finally remerged triumphantly. One of the most unusual yet utterly engaging concepts of 2018, Lee provided a social commentary which extends to the volatility of Trump's America. John David Washington excels as the charismatic Ron Stallworth- a 1970's black cop who convinced KKK officials he was white. Adam Driver also turned in a complex performance as Filip Zimmerman. Part ticking time bomb, part detective thriller- it feels great to have the real Spike Lee back!

5. First Reformed (USA, Dir: Paul Schrader) 

Paul Schrader was another filmmaker who found his way back this year and gave us an absorbing thriller. Ethan Hawke turned in a multi-layered performance as the deeply conflicted priest Ernst Toller. Tending to a slowly decaying church and facing a crisis of faith Toller's disgust with the world slowly becomes increasingly potent. Schrader showed us the darker side to humanity and how sometimes even people of faith question their own role in the world. With an atmospheric soundtrack by Lustmond, this was one thriller which left us with our own crisis of conscience afterward.

6. Roma (Mexico/USA, Dir: Alfonso Cuaron) 

Emotionally harrowing and thoroughly relatable, Alfonso Cuaron went back to his roots for this portrayal of family life. Set in 1970 Mexico City, Cuaron made full use of the difficult political backdrop and coaxed a magnificent performance from newcomer Yalitza Aparicio. The notion of having to keep strong when everyone around you is falling apart gave this movie a more devastating feel. A slow burner but worth each moment of your time, this piece showed us why Hollywood needs more filmmakers like Cuaron.

7. Annihilation (UK/USA, Dir: Alex Garland) 

After experimenting in the director's chair with his previous effort Ex Machina, Alex Garland showed he is meant for a life behind the lens. Anchored by a strong turn from Natalie Portman, Garland's sci-fi was one of utter suspense. It's setting 'The Shimmer' provided all kinds of bizarre and disturbing scares. Animals crossing with humans and a chilling sequence when Portman comes face to face with a chrome mimic. Garland has arrived on the big stage and his future looks bright.

8. The Guilty (Denmark, Dir: Gustav Moller) 

One of the most claustrophobic pieces of 2018, Gustav Moller's single room setting provided tension by the bucket load. Jakob Cedergren made for a fine anti-hero as Asgar, a cop forced to man the phones who eventually comes across a call which will change his life. Moller provides his audiences with many twists and turns with devastating results. Sadly already slated for US remake with Jake Gyllenhaal, this movie shows how Europe still provides superior thrillers!

9. Whitney (USA/UK, Dir: Kevin MacDonald) 

Many of us thought we knew of the story of Whitney Houston. Kevin MacDonald however, lifts the lid on this starlet's dramatic rise and fall and show us a far more difficult story. Seeing her descend from a fresh-faced singer with that powerful belting voice to becoming the permanently sozzled source of media mockery is horrific. Let down by those closest to her, MacDonald shows the audience that the root cause of her problems began long before she laid eyes on Bobby Brown!

10. Black Panther (USA, Dir: Ryan Coogler) 

WHAT, NO INFINITY WAR! Yes, yes I understand that many Marvel fans will be shocked that I left off the ultimate showdown that was Infinity War. Black Panther was a superhero movie of a very different kind. Embracing the African heart and soul of the character, Ryan Coogler brought Wakanda to life in stunning fashion. Chadwick Boseman was the strong yet charismatic king that this franchise so badly needs and thanks to a fantastic rivalry with Michael B Jordan this was an action movie that felt almost Shakespearean! Wakanda Forever!

Best of the Rest 

11. A Star is Born (USA, Dir: Bradley Cooper) 

Narrowly missing the top 10- Bradley Cooper brought us a movie that threatens to give remakes a bad name. Excellent in front of the camera as well as behind it, Cooper found the perfect vehicle to show of the talents of Lady Gaga. Together the result is a movie that shows how love can tear us apart. Currently an awards front-runner, it would be hard to disagree if this swept the Oscars.

12. McQueen (UK, Dir: Ian Bonhote and Peter Ettedqui) 

Designer Alexander McQueen was a man who was capable of providing fashion shows that disgusted, amazed and always captivated us. Directors Bonhote and Ettedqui go deep into his simple past as an East End boy in London to show the desire and hunger that propelled him to the top and would eventually lead to his tragic suicide. His shows are the real star of the piece and years on they still stand up.

13. A Quiet Place (USA, Dir: John Krasinski) 

Possibly the most unique concept of this year, John Krasinski emerged as a multi-talented performer after one. Set in a world where Monsters kill based on sound, this whole movie was a bucket of tension which kept even its audience silent. With wife Emily Blunt helping to anchor this piece, this was one family affair which kept us lost for words long after the credits rolled.

14. Hereditary (USA, Dir: Ari Aster) 

Despite not being the out and out horror that fans expected, Ari Aster's movie was two hours of sheer mind fuck. Delving into ancient mythology of demons and examining how family problems go far beyond the surface, Aster gave us a newer and more intriguing breed of horror. Toni Collette gives an excellent lead performance which scares as much as it captivates us.

15. You Were Never Really Here (UK/USA/France, Dir: Lynne Shelton) 

Lynne Shelton is a director who never seems in a big hurry to make movies- seven years had passed since We Need To Talk About Kevin. The long wait was worth it as thanks to Joaquin Phoenix's morally complex turn, this was a picture that took us to the dark depths of humanity. In one part this is a story of a man trying to redeem himself, the other part is a movie that shows the desperate length some men will go to attain their desires. Come back sooner next time Lynne!


Male Star of 2018: Chadwick Boseman

Starring in not one but two of 2018's biggest films, this year belonged to Chadwick Boseman. Always a capable actor in biopics like 42 and Get On Up, Boseman became the new Marvel king in swift fashion. Having an undeniable presence on screen and capable of stealing the show away from Iron Man, Thor, and Captain America, Boseman is a big star for the future.

Female Star of 2018: Natalie Portman

Natalie Portman already has an Oscar and is highly regarded as a Hollywood elite actress. However, 2018 produced some of her best work to date. Tough and unrelenting in Annihilation and jaded, vulnerable and insecure in Brady Corbet's Vox Lux (review incoming), Portman showed a whole new side to her talent. Also, let's not forget that second brilliant rap on SNL!

Best Director: Spike Lee (BlacKkKlansman) 

While I so badly wanted to give this honour to Jean-Stéphane Sauvaire- Lee just sneaks it here. BlacKkKlansman saw him finally getting back to the socially conscious and thought-provoking movies he previously delivered. This picture shows how the ongoing issue of racism and violence is still alive over 40 years later. If anyone deserves an Oscar this year its definitely Spike Lee.

Scene of the Year: First Man- Agena Spin 

Damien Chazelle gave us a scene that was beautiful as it was frightening to watch. When Neil Armstrong and David Scott attempt to dock their Gemini 8 ship with the vessel Agena- what starts as a by the book effort eventually descends into something far worse. Rarely does the camera leave Gosling's face and audiences will feel as if they've taken a ride in a spinning top.

Ocean Commotion: Review of Aquaman

Aquaman

Director: James Wan

By Alex Watson

While it suffers from a rather lifeless and convoluted plot and some truly awful dialogue, Aquaman has enough thrills to provide satisfaction. The action on screen is a mixture of several surreal, bizarre yet utterly entertaining sequences. While Jason Momoa might not have the acting chops down, it matters little here as he has the presence and charisma to hold things together.

Arthur Curry is the product of a lighthouse keeper father (Temuera Morrison) and the Queen of Atlantis, Atlanna (Nicole Kidman). As a young boy, his mother disappears to keep the peace between the sea and land. In the present day, Arthur is a renowned superhero of the sea's known as Aquaman. His half-brother Orm (Patrick Wilson) is threatening war between the surface world and Atlantis. To help save the day, Arthur must choose to embrace his past and become the king he was born to be.

While Aquaman, for the most part, is a fun adventure, it clearly doesn't give a damn about giving a plausible story. While James Wan does provide some pretty epic visuals (the entrance into Atlantis is jaw-dropping), he seems to hope that the continuous action and scenery will distract us from the drawn-out and needlessly confusing ocean political battle. Things begin promisingly with the potential for a decent backstory explain the doomed romance of Arthur's parents- sadly Wan seems in a rush to get through this. While its fun to see Atlanna single-handly wiping out a hit squad, a needed sparkle is lost early on. Arthur is very much the ace in the deck in this movie and his slightly hungover, surfer boy feel gives this character a needed realism.

While the threat of war looms throughout this movie, the story is hampered by what seems like endless political chicanery. Orm comes across as the Draco Malfoy of the deep sea, a blonde, petulant man-child who hates humanity and sets about staging a fake submarine attack to win the favour of other tribes. Many of supposedly big threats to planet earth are quickly forgotten- would a Tsunami really be dismissed so quickly? What could have been an interesting side story is let down by a number of one-note characters such as the seahorse riding Nerus (Dolph Lundgren). Worst of all is the tacked on side story of the vengeful pirate Black Mantra (Yahya-Abdul Mateen II) which adds little aside from fisticuffs and slowly destroying a seaside Sicilian town. There is an element of wannabe Shakespeare in this one as both brothers seek to claim the throne. While there is a thrilling battle to the death sequence, most of the action sequences are so out there that it cannot help be entertaining.

Ever seen an Octopus do a drum solo? A boat attack by weird amphibious monsters? Oh, and did we mention an Island filled with pterodactyls? It is almost as if Wan randomly choose the most far-out ideas he could find and put them in the script! This is what gives Aquaman its entertaining feel because even if you have zero idea what is happening you will still be fascinated. The idea of Arthur as a human/fish half-breed who cannot exist between either world is also compelling and his struggle to find his place draw us to him. The tug-o-war romance between him and Orm for mermaid character Mera (Amber Heard) adds little to story despite her being a guide for Arthur. Most bizarre of all, there is barely any mention of his Justice League status! However, maybe this movie all the better from distancing itself and finally giving needed screentime to one of the better finds of this team.

Jason Momoa might never be an acting superstar, but he sure as he has the feel of the character down. Giving Arthur a refreshing everyman quality, he is able to highlight his flaws as well as his natural leadership. Fond of his beer and also not afraid of brawling with armed pirates, Arthur is a conflicted soul who is frequently put down for his heritage. Momoa gives him a likable yet clueless charm which honestly serves this picture well. Patrick Wilson, however, is stranded with a bland and lifeless villain character- a regular collaborator with Wan in the Insidious and The Conjuring franchises, his Orm comes across as little more than a continually smirking jerk. Nicole Kidman aside from a couple of impressive scenes is given precious little as Atlanna which is disappointing because she has a strength which has the potential to define the main character.

Aquaman may not give much hope to the future of Justice League movies, but it is certainly one of the more different blockbusters you will see in 2018.

Ordinary People: Review of Roma

Roma

Director: Alfonso Cuaron

By Alex Watson

Heading back to his roots of Mexico City, Alfonso Cuaron's Roma is a much more stripped back effort than his recent big-budget efforts. Sweeping the Golden Lion at Venice, Cuaron shows why he is among movie making's elite. Behind the picture's low key feel is some sheer emotional power. Showing the ordinary going's on of the average family, Cuaron is able to bring some excellent technical mastery and brings a very real feeling to this depiction of the troubles of ordinary people.

In 1970 Mexico, Cleo (Yalitza Aparicio) works as a maid in the home of Doctor Antonio (Fernando Grediaga) and Sofia (Marina de Tavira). Their lives appear to be very routine, but beneath the facade, the parent's marriage is extremely strained. After a few inciting incidents, Cleo finds herself thrust into the role of peacekeeper. However, she has her own troubles to deal with which will culminate in some life-changing moments.

Shot in black and white, Roma is a much more stripped back affair from the very beginning. A very slow burner, Cuaron is keen to bring his audience into the families world. Cleo's work is one of strict upkeep and during the opening titles we see the driveway being slowly cleaned of dog shit. There appears to be an almost loving security within the opening frames as we see her put the children to bed and happily read them stories. Thankfully there is no oversold commentary of the difference between rich and poor, Cleo is recognized as vital to the family. There is a tenderness in one scene as she happily watches television snuggled with the children. At first, this appears to be a typical depiction of an everyday family, but little by little Cuaron dismantles the facade. A very autobiographical film inspired by his own childhood in the Roma neighborhood of Mexico City- Cuaron brings an authenticity which is undeniably compelling.

His stunning use of frames is another factor which makes this one of 2018 strongest efforts. Each frame is sharp and clear and brings us any number of memorable and stunning shots. One scene shows a forest fire on New Year's Eve set against a man singing sorrowly while the flames burn. Cuaron has made great use of tracking shots in the past (his stunning one take shot in Children of Men still stands out). Here he utilizes this to full effect and often we trail the streets of Mexico opposite Cleo. We feel like we are observing a stranger and we cannot take our eyes off the screen. These small touches bring realism to proceedings and as we watch this family unravel it stabs us right to the gut. As Antonio and Sofia show signs of falling apart, Cleo is required to keep the family together which proves an arduous task.

Roma might be a picture about Cuaron's childhood, but the story is focused on Cleo. A young girl still trying to make her way, she is required to be stronger than ever imagined. Throughout she learns life lessons the hard way, such as her doomed romance with martial arts obsessed Fermin (Jorge Antonio Guerrero). She is responsible for some of the pictures most poignant and heartbreaking moments. On first glance, she seems like a shy and retiring flower, but underneath there is a strength and selflessness that makes her thoroughly endearing. While Antonio and Sofia face a bitter struggle, Cleo is one who really anchors the family.

The magic of this moment is mainly down to the stunning central performance of Yalitza Aparicio. The 25-year-old Mexican actress is a revelation onscreen and brings a performance of pure emotional intensity. Cast despite no formal training as an actress, Cuaron has found one of the stars of the future and Aparicio brings a strength and vulnerability that the film desperately needs.

Roma proves how Alfonso Cuaron is a director at the top of his game, Gravity may have won him an Oscar, but this might be a career best so far. Expect this name to appear frequently this awards season.

Goin' South: Review of Green Book

Green Book

Director: Peter Farrelly

By Alex Watson

After winning the Viewers Choice prize at the Toronto International Film Festival, Peter Farrelly's Green Book is a film which is Oscar assured. A touching yet utterly hilarious look at real and unconventional friendship, Farrelly shows how two polar opposites can attract. On one side a firm commentary about the mistreatment of African Americans during segregation, the other this is a movie about how courage can truly make a difference. With two stunning central performances, this picture is a powerful and endearing look at a difficult time in American history.

Tony 'Lip' Vallelonga (Viggo Mortensen) is a bouncer at the Copacabana who is very quick with his fists. After the club closes for renovations, he needs work to tie him over for the next 8 weeks. Soon after a chance comes his way to drive renowned pianist Dr. Don Shirley (Mahershala Ali) on his tour of the Deep South. Needing someone to help him steer clear of trouble, the two at first continually aggravate and embarrass one another. As the trip progresses, both men will find a lasting friendship in the most unlikely way.

Green Book is a movie that is dedicated to showcasing the unlikely feel of this friendship. When we first meet Tony, likable is not a word we would use to describe him. Unafraid to dish brute force with troublemakers and disturbers, Tony is little more than club muscle. While a loving family man to his wife Dolores (Linda Cardellini), he also possesses a racist streak which goes in line with his loud Italian family. One scene sees him drop two glasses used by black painters into the garbage, much to the disappointment of his wife. Meeting Don Shirley is something that not only broadens his worldview but busts it wide open. A multilingual, educated, world famous but conceited musician, Shirley's world couldn't be further apart from his own. Petrubed by Tony's bullish and unpolished manner, at first this turns into the road trip from hell. While in Kentucky, Tony forces his counterpart to feast on fried chicken because he makes the ignorant assumption all black man eat it. "You have a very narrow assessment of me, Tony!" gripes a bemused Don.

During this road trip, both come to slow admire the different qualities in each other. Shirley is almost seen as the authority figure in this trip- especially when he chastises Tony for stealing a 'lucky rock' from a roadside store or making him reverse the car to pick up a discarded soda cup. However, he slowly convinces Tony that using his fists will not solve every problem and to start using his head. While Tony on the surface is a dimwitted bag of muscles, his sheer street smarts and quick thinking help keep Don in one piece. Grudgingly he grows to admire his musical talents and his sheer determination to keep face in front the affluent Southerners who scorn his people at every turn. "It takes courage to change people's hearts." mentions bandmate Oleg (Dimeter Marinov). As a musician, Shirley's performances are a thing of rare beauty and Tony comes to see that only a man like him could make this so memorable.

Entering the Deep South gives this picture a slight tension as while he is given a warm welcome at the events and concerts he plays- there is still a notion that is simply tolerated. The title Green Book refers to a book given to African American travels to help them navigate this tricky region. Staying clear of provocation proves a sky-high task as Shirley's mere existence is a trigger to the locals. One night he strays out alone to a bar and Tony is called to rectify a difficult situation with hostile rednecks. Farrelly also shows Shirley as a man cast adrift between two worlds. Unaware of hit singers like Little Richard and Aretha Franklin, Shirley is too different from his own race and not accepted within the white race. Tony is the unlikely glue that holds the duo together and his fast-talking and unconventional fast acting also bring Shirley out his shell and make him more assertive. At its core, Green Book is a buddy film with a ton of heart and a stark realism and awareness of its surroundings.

As the Bronx born Tony Vallelonga, Viggo shows just why he is one of the most versatile actors Hollywood has to offer. Nicknamed 'Lip' due to his ability to talk bullshit and convince others to do things, his mouth is constantly running or shoveling large quantities of food into it. While in the beginning, he appears to be little more than a lunkheaded bruiser, Mortensen shows this characters intelligence and compassion towards his employer. Frequently able to get the bulk of the laughs, Mortensen once again is excellent. Mahershala Ali is also on dynamite form in the first post-Moonlight film. Effortlessly gripping in each scene, he gives Don a tightly wound feel that is a mask for his inner torment and loneliness. Ali once more confirms his status as one of the best upcoming leading men and this role matches Mortensen blow for blow.

Green Book is a movie that gives some real joy on screen and shows a maturity in direction by Peter Farrelly. Definitely an upcoming awards favorite.

There's No Easy Way Out: Review of Creed II

Creed II

Director: Steven Caple Jr

By Alex Watson

While it is a little by the numbers and predictable- Creed II is a still solid and enjoyable sequel. The last effort by Ryan Coogler was one devastating hook that floored even the most die-hard Rocky fan. However, with Coogler heading to Wakanda, his replacement Steven Caple Jr is still able to deliver a gutsy bout. Now officially Stallone's final ever outing as the Italian Stallion, Michael B Jordan assures us that this franchise is now in safe hands.

Adonis Creed (Michael B Jordan) has taken the heavyweight division by storm since his defeat in the prior film. Now the champion, he is keen to set about years of domination and building a future with girlfriend Bianca (Tessa Thompson). However, lurking in the shadows is the brutal and hulking Russian fighter Viktor Drago (Florian Munteanu), the son of the very man who killed his father, Ivan Drago (Dolph Lundgren). While keen to avenge his father's death and create his own legacy, Rocky Balboa (Sylvester Stallone) is not so keen on this matchup.

While Creed II, for the most part, is a well-acted and nicely executed piece, there is a sense they are just looking to draw out the mileage. A large portion of the movie is bogged down by any number of motivational speeches by Rocky about how Adonis has to go outside of what he knows. The last installment injected real heart and soul in places fans were surprised by. This time there seems to be a little too much brooding going on in between fights. Adonis is a character who slowly is growing on Rocky fan's and to be fair, the movie does capitalize on his rash and impulsive desire to beat Drago. Barely crowned champion, Rocky knows he is walking into a world of trouble.

When in the ring, the movie packs all the needed punches. Viktor is a man 'raised by hate' and Ivan's failure to beat Rocky robbed him and his son of a prosperous future. Their first bout together is a painful affair to watch and Viktor has more than inherited his Dad's brute force- he has gone above it! Adonis' challenge is made horrifically obvious here. While there is an excellent but all to brief reunion scene between Rocky and Drago, the father/son duo is mostly confined to being background villains. Which is a great shame because there is a wealth of story available about Drago's decline and desire for resurrection. This sequel is much like many of the previous Rocky outings and outside of the punches thrown, the story tends to lag.

Part of the issue is that Caple Jr seems more concerned with diverting the movie into unnecessary subplots. Bianca's story is one of the moving ones as her progressive hearing loss is becoming more potent. However, Creed II also loses valuable over whether Adonis and Bianca's newly born daughter will also inherit the same condition as her mother? Viktor and Ivan are also dealing with their own issues as Viktor is being embraced as a hero by Russia. Ivan is keen to return to the fold, but Viktor is wary of playing the puppet figure after his own Dad's notable failure. Any gripes we have are easily thrown aside with the number of enjoyable training montages. This sets the scene for a return to Moscow for another East vs West (or man against man) showdown. Like Rocky IV before it, the odds are stack against our hero and this is where the picture feels at home.

Michael B Jordan is finally making the character of Adonis Creed his own. In this installment, he is able to channel the swagger and confidence of the character and take it another level. Jordan also hones in on the self-doubt that Adonis possesses. Mentally conflicted and feeling obliged to avenge his father's honor, we see a newer and more vulnerable side. In many ways, it feels devastating that Stallone will never again grace our screens as Philly's finest. As Rocky, he gives a wonderful if not lower key send off. A man weary of the fighting world, Rocky is forced to look at his life and Adonis' decision to fight Drago is one that shocks him to the core. Still agonizing over his decision not to thrown in the towel for Apollo, Rocky is keen not to see another Creed perish.

Creed II has its faults, but at heart, it has all the enjoyment and charisma that one might expect from this franchise. Farewell Sly, you did it!

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.

Dance, Dance Revolution: Review of Suspiria

Suspiria

Director: Luca Guadagnino

By Alex Watson

While Luca Guadagnino's Suspiria remake attempts to do something bolder, the end result borders on frustrating. Smartly, he doesn't attempt to remake Dario Argento's cult classic shot for shot. Instead, he decides to focus on the political climate of 1970's divided Berlin. However, despite some fine trickery and some fine set designs, his story feels weak and unpolished. Also, although his style is flashy, his techniques often get in the way of the film and frustrate rather than amaze.

Susie Bannion (Dakota Johnson) is an American dancer who has traveled to Berlin to enroll at the Tanz Dance Academy. Despite no formal training, her natural talent dazzles Madame Blanc (Tilda Swinton). The studio is still reeling from the mysterious disappearance of star performer Patricia Hingle (Chloe Grace Moretz). As Susie begins to make her mark and make friends with fellow performer Sara (Mia Goth). It becomes clear this academy has some sinister activity lurking.

Argento's original was notable because of his use of vibrant colors, his mastery of suspense and the screeching and blasting soundtrack by prog-rock band Goblin. Guadagnino to his credit attempts things a little differently. His use of more muted colors fit in well with the grey skies and the continuous rain of a divided Berlin. This version of Suspiria is lacking the needed tension and we are aware of the illicit activities of the academy almost from the get-go. Refusing to conform to horror film standards, Guadagnino emerges the wrong director to helm a slasher remake. His over-focus on the more artistic side prevents the film from making progress. The editing, in particular, is at fault and frequently we see gruesome murder scenes set against any number of flashy dance sequences. Guadagnino's use of voiceover to convey the potentially sinister intentions of the academy leaders often falls flat because the audience is not quite sure what it is supposed to be seeing?

Part of the issue comes from the setting and there appears to be a big focus on the guilt of a nation's past. Setting this movie in the same year of release as the original feels like a clever idea- but this movie doesn't need a political commentary. The character Dr. Josef Klemperer (credited as Lutz Ebersdorf but actually Tilda Swinton in prosthetics) receives particular heavy focus as he reflects on the disappearance of his wife Anke (original Susperia actress Jessica Harper) during WWII. However, this character just feels like an excuse to draw a thin plot out even further and although he adds an element of mystery, you feel this picture could succeed without him. Part of the issue with this remake is the characters themselves are almost like a blank slate. We get glimpses of Susie's Amish upbringing and her fractured relationship with her dying other. Here there are some hints of some supernatural elements. Sadly the plot is sacrificed in favor of design and this gives the movie a rather bland feel. The ending does possess an extremely clever twist, but its executed in such a baffling style that anyone will need multiple viewings to really understand it.

One saving grace from Suspiria is the excellent and often enticing dance sequences. As mentioned before, these frequently tie into some of the pictures most disturbing moments. Particularly when student Olga (Elena Forkina) has her body twisted more ways than a pretzel during one of Susie's dances. While slightly overused, these sequences offer up a bewitching montage which gives a boost to the dark horror surrounding the company. You can almost feel the evil forces lurking and being summoned with each breathless move executed. Guadagnino has some clever ideas for this remake, it's just a shame they are all tied to these moments.

While Dakota Johnson initially impresses as the sheltered Susie, she is unable to completely convince throughout. This role requires an actress with the ability to transform and Johnson is unable to make the character to the extent needed. Previously working with Guadagnino in 'A Bigger Splash' she has shown she is able to manipulate the viewer. In this effort, her character is nowhere near interesting enough for us to care. Tilda Swinton, as usual, is in fine form as the icy Madame Blanc. Interestingly, Swinton gives her enough intrigue that she doesn't serve as the main villain of the piece. Playing instead a woman bound to ancient traditions and forced to resort to underhanded means to make her leaders happy. Chloe Grace Moretz is literally a blink and you'll it miss figure in this remake. Mia Goth, however, is fast becoming a dependable and scene-stealing actress.

Luca Guadagnino's Suspiria is a horror movie with a surprising lack of horror. His aims are admirable but they are also what becomes this remakes undoing.

Hammer to Fall: Review of Bohemian Rhapsody

Bohemian Rhapsody

Director: Bryan Singer

By Alex Watson

There was controversy surrounding Bohemian Rhapsody before it was even released. Due to continuous problems and behaviour surrounding director Bryan Singer- Fox was forced to fire him and hire Dexter Fletcher to finish the film. The result is a mixed success and although this movie does firmly capture the spirit and energy that Queen brought the music world- its depiction of Freddie Mercury feels almost too safe. However, Rami Malek proves to be the movies secret weapon and he perfectly embodies the great performer and persona that Mercury truly was.

In 1970, a toothy oddball named Farookh Bulsara (Rami Malek) meets two other misfits called Brian May (Gwilym Lee) and Roger Taylor (Ben Hardy) who perform in a struggling band named Smile. Together with bassist John Deacon (Joseph Mazzello), they form the band Queen and quickly ascend to the dizzying heights of music glory. While Freddie quickly becomes the face of the band, problems begin to develop both in and outside the band.

You can sense that Bohemian Rhapsody is treading a very careful path when depicting the life of Mercury. This was an artist who was unafraid to push the boundaries of what was appropriate, yet this movie feels very overly cautious and seems to determined just to play the hits. Singer glosses over the early years of Queen with too much speed. Immediately they go from playing colleges and pubs to selling out arenas. We never get the sense of success being earned the hard way and Anthony McCarten's script seems overly focused the life of Mercury. There are moments of hard-won respect- such as their struggle against the pushback of releasing the experimental Bohemian Rhapsody by EMI boss Ray Foster (Mike Myers). Their refusal to budge and confidence in their success makes you want to stand up and applaud. The band here is shown as a unit and more of this should have been included.

When it comes to Freddie himself, the movie sparkles brightest and injects real emotion and heart. As a character, he is always ready with a quick wit and has a stubborn streak a mile wide. Ever the perfectionist, he is always shown to strive for best- even if it means making Roger sing 'GALILEO' multiple times. Despite this fine and moving portrayal- Singer and McCarten seem afraid to depict the man he truly was. The over-focus on his lifelong companionship with Mary Austin (Lucy Boynton) feels like a misstep and we only get the briefest look at the romances he shared with any male lovers. In particular, it largely ignores his loving relationship with Jim Hutton and his eventual death from AIDS (referenced fleeting in an end title card). Were they afraid to tarnish the name of a man who was unafraid to bend the rules and live life to the fullest? This cautious feel drags down what could have been a great biopic.

While its scripting and feel might not sing the high notes, Bohemian Rhapsody does excellently bring to life just how energetic and fun Queen's live shows were. In glorious and thumping detail plus some excellent Freddie costumes, we find ourselves singing and nodding our heads to the hits. The high point comes from its stunning recreation of Queen's infamous 1985 Live Aid set. Capturing the fever and infectious showmanship that Mercury brought to the stage, you see the crowning glory of an already stellar band. Freddie is at his most complete during this stretch, strutting and commanding the stage and the audience alike as if it's his last moments on earth. While the movie ends on a high note, you are still hungry for more.

Sasha Baron Cohen was the original choice to play Freddie Mercury. But his departure was a blessing in disguise because they couldn't have chosen better than Rami Malek. The movie's shining light, Malek is magnificent as the flamboyant and effortless showman Freddie. Effortlessly bringing to life his ability to steal the spotlight along with his multi-range voice, Malek hits all the right notes. Always the centre of a party and never wanting the good times to end, we see at times a man on the verge of falling over the edge. His arrogance often threats to drive the family apart, but he shows a big heart and soul to continually rally the troops. His performance comes alive during the Live Aid set and wonderfully he recreates the performance move for move and resurrects one of the truly great live performances. Ben Hardy provides great support and some terrific one-liners as Roger Taylor and Gwilym Lee is excellent as the more level-headed Brian May, complete with the appropriate fuzzy hair.

Bohemian Rhapsody is a biopic that is not always in tune and misses a great opportunity to showcase one of the biggest showstopping bands of our time. Rami Malek however, deserves awards contention for his stunning performance. We are still waiting for the hammer to fall!

Emergency Response: Review of The Guilty

The Guilty

Director: Gustav Moller

By Alex Watson

Confining a movie to a single setting can be a sink or swim affair. Danish director Gustav Moller manages to crank the tension up to stifling levels in his remarkable debut thriller The Guilty.  Impressively paced and making good use of the claustrophobic setting, few movies have made being at the end of a phone so nerve-wracking. Jakob Cedergren impresses with a bold yet complex central turn which gives the film layers as a result.

Asger Holm (Jakob Cedergren) is a Copenhagen cop forced to man the emergency service line whilst on administrative suspension. He simply hopes for a quick return to duty after his upcoming disciplinary hearing. That night, Asger receives a call from a distressed woman named Iben (Jessica Dinnage) who claims to have been kidnapped by her ex-husband Michael (Johan Olsen). Keen to play the hero and see this woman returned safely, he resorts to some frantic measures to get the job done.

The scenario of The Guilty isn't an entirely new one, but Moller is able to put a newer and more gripping take on this. Asger is a man who is already suspended under mysterious circumstances and when Iben calls he is able to gradually realise this is no mere call. Her ex-husband has a record of violence and quickly some harrowing facts begin to stack up about the scenario she is in. Stuck in his seat in a darkened room, Asger has to use all the tricks he can to stay ahead. Constantly bugging the North Zealand dispatch operator and his old boss Bo (Jacob Lohman), he is desperate to save this scared woman from an increasingly doomed fate. Partly you can sense he is keen for some good press following some clearly unprofessional prior behaviour.

The frequent close-up camera work by DP Jasper J. Spanning and the fine sound design of Oskar Skriver are the key elements that make Moller's picture tick. Through Spanning we can constantly see the gears of Asger's mind clicking as he attempts to solve the puzzle before him. The continuing silence is the tensest aspect of the film and as we hear the sound of the rain and traffic through the headset, it adds a little more realism. While Asger wishes to end everything peacefully, there's not a guarantee of a pleasant ending. While a brave individual who takes initiative, there is also a sense that his rogue streak may well end in his downfall. Continuously pressuring others to take matters into their own hands and get the job done, the reasons for his suspension soon become very clear.

As the minutes in The Guilty crawl by Moller swiftly turns the audience inside out as some disturbing revelations come forward in the final act. While it may seem implausible to some that Asger could go undetected by his superiors- especially when his shift ended, such quarrels are minor. Mirroring Steven Knight's thriller 'Locke' the suspense gradually builds and Moller makes his audience feel they are in the room along with Asger. Iben and Michael are a pair with a bitter history, but even the most steely-nerved person will be unprepared for the movies startling twist. Moller emerges a new Danish talent to reckoned with- few Hollywood thrillers provide this type of reality and we can expect him to be on the big stage soon.

Jakob Cedergren makes for a wonderful anti-hero in this picture and pulls off a hard-bitten role with bravado. Confined to a single room, the troubled expression on his face speaks loudly and Asger is trying to pull off an impossible task. Cedergren never strives to make this character heroic or likeable, he is just a guy attempting some kind of redemption. Is Asger really a good man or simply dodging a bullet? Through Cedergren there is a wonderful ambiguity to his actions that keep us wondering.

The Guilty is one of those thrillers which makes you sit up and appreciate good European cinema. There will surely be a remake of this film by Hollywood within the next five years- especially since it is a big contender for awards glory.

Freedom Writers: Review of The Kindergarten Teacher

The Kindergarten Teacher

Director: Sara Colangelo

By Alex Watson

There are few actresses that can make an indie darling sparkle like Maggie Gyllenhaal. In Sara Colangelo's Sundance award winner The Kindergarten Teacher, she is able to take a progressively disturbing yet identifiable character and make her engaging. Adapting the original 2014 Israeli film by Navad Lapid, Colangelo chronicles an uninspired 40-something teacher looking for an outlet in life and gives a firm commentary on the mentor-mentee boundaries.

Lisa Spinelli (Maggie Gyllenhaal) is a kindergarten teacher at a crossroads in life. Her husband Grant (Michael Chernus) is sweet but rather oblivious, her teenage children (Daisy Tahan and Sam Jules) barely need her. Attempting a poetry class in her spare time, her work is often greeted with lukewarm praise by teacher Simon (Gael Garcia Bernal). Out of nothing, Lisa finds five-year-old student Jimmy Roy (Parker Sevak) who shows great promise and is adept at waxing lyrical. However, her enthusiasm for him to show his full potential eventually spills over into obsession.

Perhaps the most intriguing part of The Kindergarten Teacher is how Colangelo presents Lisa to the audience. From the outset, the frustration at the banality and predictability of her world is apparent. Lisa simply going through the motions with little to inspire her. Her poetry often falls flat and it is obvious that she has more passion than natural talent. Her marriage is past its sell-by date and her two kids view her presence as an irritation. When she first meets Jimmy, his seemingly inane ramblings to himself are like a comet striking her world. From here, she attempts in more and more desperate ways to insert herself into his world. Colangelo begins to blur the lines and soon the relationship on screen become a source of debate for all concerned.

Lisa at first tries to convince his divorced father to encourage his poetic talents which he adamantly dismisses as he just wants his son to be a normal boy. Then she resorts to stealing his poetry and presenting it as her own which quickly turns her frosty professor's attention. What precisely is her motivation with Jimmy? Colangelo keeps this almost annoyingly ambiguous- is he a creative outlet? Or is something more sinister a play here? Her behaviour becomes increasingly less professional as she begins to contacting and seeking out the boy outside of school hours, waking him during naps times and exhibits a more possessive and unsettling attitude. Her life may lack substance, but there is something fascinating and absorbing about watching this descent into near delusion.

Predictably this character becomes more and more determined for the world to see a young man who doesn't wish to be seen. There is a last-ditch effort which makes us squirm uncontrollably in our chairs. Even so, Colangelo gives this an almost illuminating quality that makes it all the more watchable. Its conclusion itself is hard to define and we are sure precisely what is being hinted at, but it is clear that this young man has been through the wringer. Is Lisa a suitable wannabe mentor for this young man? Or is she simply an overly eager teacher whose crossed a serious line in both work and her personal life? Prepare for some hard questions as the credits roll.

Maggie Gyllenhaal shows just why she is one of Hollywood's most underrated leading ladies. It takes a special type of talent to make a borderline stalker seems engaging and likeable. Gyllenhaal is able to find a warmth and charm where some would struggle greatly. Young actor Parker Sevak also impresses as Jimmy and is able to add some increasingly nervous behaviour as the picture goes on.

The Kindergarten Teacher might be just outside of major awards contention, but its a reminder of how Maggie Gyllenhaal can anchor the smaller films.

We Are All Made of Stars: Review of A Star is Born

A Star is Born

Director: Bradley Cooper

By Alex Watson

Now on its fourth version- A Star is Born feels reborn under the first time direction of Bradley Cooper. One of the rawest yet heartwarming movies of 2018, Cooper and co-star Lady Gaga do much more than provide a great sound. Getting to the heart of two fragile yet painfully real characters, this remake firmly captures the heart and soul of its predecessors.

Jackson Maine (Bradley Cooper) is a country star who plays to sold-out stadiums, but off-stage he is a drunken wreck who is past his best. One night while out drinking he comes across singer Ally (Lady Gaga) performing in a drag bar. Immediately taken by her talents, the pair soon enters a romantic relationship and quickly her star rises while his begins to fade. Will the pair be able to salvage their love or will fame tear them apart?

Cooper immediately makes the flaws with his lead character obvious. Starting playing to a packed stadium, Jackson drunkenly stumbles on stage and attempts to act the part of a rock star. His addiction already has him in a tailspin and all around people are worried. One scene sees his brother Bobby (Sam Eliott) puts him to bed and warns Ally "You think he drinks a little too much? Sweetie, you have no idea!" Permanently hungover and hazy-eyed, Jackson is barely functioning. When he sees Ally perform a passionate rendition of 'La Vie En Rose' in a drag bar, you can feel the sparks fly. With her stuck on eyebrows, Ally is a woman who has been permanently rejected by the industry due to her looks. While immensely talented and sure of herself, she is unconvinced by Jackson's words of encouragement. However, when they first sing the song 'Shallow' together there is an electricity which would rival any live concert on earth. We can feel Ally's star begin to ascend and there is a crushing inevitability that Jackson will soon be consigned to the past.

Throughout A Star is Born there is a fear that Ally is not equipped neither physically or emotionally to deal with her lovers' descent into the bottom of the bottle. While her face graces billboards across LA and she appears on Saturday Night Live, Jackson is confined to the shadows. Dealing with continuous problems with tinnitus and still emotionally affected by the death of his mother and father, Jackson's pain is as plain as day. Ally's scheming manager (Ravi Gavron) doesn't help matters as he sees her as a hit factory and frequently undermines her husband. While it sounds bleak and depressing, there is a naturalistic feel to this romance and there are moments of levity which makes this all the more memorable. The picture undoubtedly comes alive during its live music scenes and Gaga feels at home during this stretch. Recapturing the vibrancy and show-stopping feel of one of her live shows, credit must go to DP Matthew Libatique here.

As this torrid romance plays out there is a sense that Jackson is a ticking time bomb. Unable to cope with his sudden loss of fame, life in Ally's shadow brings out the worst in this character. A particularly gruesome moment during the Grammy's award is the pinnacle of his downfall. Judy Garland and James Mason had it easy compared to this moment. As a director, Cooper is very much adept at capturing the feel of George Cukor's 1954 effort while also maintaining a subtle nod to Barbara Streisand's 1973 version. Ally might be the star that remains, but Jackson is the star our hearts go out to even though he may not have truly earned them.

Bradley Cooper rings in what could be a career-defining turn as Jackson. Barely recognisable underneath his long dusty hair and swollen face, Cooper brings a realism along with a very recognisable sense of trauma to this character. Lost in a whirlwind of drugs and booze, Jackson is still clinging to what he used to be and is unable to face what he has become. The big question in this movie was could Lady Gaga pull off being the leading lady? The answer is HELL YES! Completely comfortable bring a natural feel along with a raw yet believable emotional pain, Gaga is more than a match for her established co-star. Bring the heat as both singer and actor, this vehicle could pave the way for her to become the triple threat she deserves to be.

A Star is Born proves that sometimes remakes can go above what is expected of them. A surefire candidate for a clutch of Oscar nominations, you will not see a better duo onscreen than Gaga and Cooper.

We Are Venom: Review of Venom

Venom

Director: Ruben Fleischer

By Alex Watson

Despite having one of the standout casts of 2018, Marvel fans are still waiting for a good outing for Spiderman's nemesis. Venom on paper had all the goods but sadly director Ruben Fleischer is never able to find a good blend between action and comedy. The result feels like a limp and wasted opportunity on an intriguing set up. Tom Hardy manages to salvage some pride with a decent performance, but for once he cannot be the sole saviour.

Eddie Brock (Tom Hardy) is a TV journalist who ends up losing everything including his job and fiancee Annie (Michelle Williams) after unwisely confronting crooked billionaire Carlton Drake (Riz Ahmed). To prove Drake is using homeless people as test subjects for an unknown species, he breaks into his lab to investigate. However, during his time there Eddie merges with a symbiote named Venom which will give his body a new and scarier kind of host.

The main problem with Venom comes from its rather formulaic and generic script. Starting slowly, we see Eddie's world gets turned upside down, his break up with Annie would have been more painful if there were any chemistry between the two leads. A floundering and drunken mess afterwards, he gets thrown a bone when a more sympathetic Drake employee (Jenny Slate) drops the knowledge he is killing innocent people. When he finally crosses with Venom, the result is nowhere near as entertaining as this should have been. As a character, Eddie is a rather blank slate throughout and we are never truly given a chance to understand his motivations or any kind of backstory about Brock himself. Likewise, Carlton Drake, a compelling nemesis in comic form has little impact or threat here outside of just being kind of a dick.

Studio interference has also played a role in the impact of this movie being lessened. Keen to cut this down to a PG-13 rating, the needed dark tone is disappointingly absent. Also, the movie never truly finds its rhythm and there a number of cringing moments. Eddie humiliating himself in front of Annie by jumping in a lobster tank in a restaurant is a prime example.  Given Fleischer's previous effort, Zombieland, the laugh factor should have been a shoe-in. Sadly he opts to do numerous and rather lifeless action sequences which frustrate more than they entertain. This could have another hit in the Deadpool inspired range if Fleischer chose to utilize the hilarious main duo, but there is simply not enough snappy wit to make this work.

Only in the final act does this movie become anywhere near watchable and once Eddie and new buddy begin to bond, some life comes to the movie. While an end credits sequence does provide a burst of excitement for a potential sequel, this first effort is left to rue what might have been.

Normally a movie's ace in the deck, Tom Hardy is easily the standout. Juggling between a more physical yet comedic turn, Hardy is up for the task and gives Eddie Brock a far stronger feel. As his new special friend Venom, his deep and booming voice always sends a chill down our spines. Becoming a capable actor across all cinematic forms, it will be interesting to see what Hardy can do if given the chance to return. Michelle Williams is barely used in what is an underwritten role as Eddie's lost love Annie. Always able to bring her all to even the smallest scenes, Williams has precious little to do here. Riz Ahmed is equally wasted as villain Carlton Drake and is saddled with some truly dull dialogue. An able actor in big films, this movie wastes the talents a fine talent.

Venom should have been an end of year treat for all its patient fans. Tragically, we are still waiting for a definitive outing for one of Marvel's best anti-heroes.

The Book of Life: Review of The Public

The Public

Director: Emilio Estevez

By Alex Watson


As a director, Emilio Estevez movies only come along when he is truly ready. His last picture, the Martin Sheen starring 'The Way' was a touching and authentic story of self-discovery which showed a maturity and a keen eye for humanity. His new effort, The Public is a movie which gives a compelling voice to the homeless and a sharp commentary on the lack of resources that are available. 

Stuart Goodson (Emilio Estevez) is a librarian in Cincinnati, Ohio who each day encounters a number of homeless members such as Jackson (Michael K. Williams). While happy and content in his job, things become more complicated when his superior Mr Anderson (Jeffrey Wright) announces he has been named in a lawsuit against the library. One night a brutal Midwestern cold front is about to hit the city and all the shelters are maximum capacity. What follows will result in a tense stand-off between Detective Bill Ramstead (Alec Baldwin), local D.A Josh Davis (Christian Slater), the staff and the homeless.

While its message might be a little overstated in places, The Public still makes good use of its setting and the sheer quality of performers. Estevez has always a preference for showing the plight of the average person and Stuart Goodson is a weary yet personable library supervisor. Along with his co-worker Myra (Jena Malone), the pair are simply trying to do their jobs without causing a fuss. The homeless who frequent the space are tolerated as this is the only safe place they can go without being hassled or rejected. The library tries to maintain order and give support as best it can, but Estevez shows what a tough role this can be, especially when dealing with patrons with severe mental health disorders. Goodson is a man who is doing his best to be supportive but his hands are tied by bureaucracy.

The cold front hitting Cincinnati has resulted in more and more people freezing to death each night. During this movie, there is a firm statement on the lack of shelters available and many of the homeless are simply trying to keep warm. Stuart himself is dealing with his apartment heating being down, which has him making contact with his attractive apartment manager (Taylor Schilling). When the stand-off occurs, Jackson and the others simply just want a place to send the night. Stuart despite reservations allows this to go ahead and they barricade the doors. Everyone outside the library just wants this to be done with- Ramstead is a negotiator who is also looking for his drug-addicted son. He simply wants everyone to go home and not have to deal with the slimy and corse Davis whose campaign for Mayor is not going to plan.

The final act of The Public might seem formulaic and has a number of slightly cliched moments (complete with quoting the Grapes of Wrath). Plus there are some side stories that perhaps overstay their welcome- particularly Gabrielle Union's vampirish newswoman who portrays Stuart as a kidnapper. However, despite these flaws, there is still a nice sense of authenticity and comradery. While there is a heavy-handedness to Estevez's direction, he is still able to emphasize the struggle the homeless face to be heard. Libraries are increasingly considered to be a safe haven because few places offer them a place to simply be and access services that can help turn their lives around. Stuart desire to help is made clearer during the final act and credit to Estevez for giving this subtle touch. Within the walls of the library, there is a tension building that could potentially give the police a reason to storm. The resolution to this may divide audience members, but it will still leave a smile on our lips.

Emilio Estevez has always been a capable performer as well as director and once more he is on double duty. As Stuart, Estevez conveys a good sense of weariness alongside a fighting spirit. While he may be a reluctant participator, he is also a leader with a sense of compassion. The supporting cast alone elevates this picture and Alec Baldwin gives a fine turn as Ramstead, whose fear for his son's safety is in conflict with his role in attempting to end the stand-off. Christian Slater is also in fine form as the particularly nasty Davis. While this role may see him permanently in one gear, Slater makes full use of his distaste of this tricky situation.

The Public is a movie which gives some much needed focus on the problems the homeless face each day. It might not see much action comes awards time, but Estevez still shows he is a director who makes us think.

Saved: Review of Boy Erased

TIFF EXCLUSIVE

Boy Erased

Director: Joel Edgerton

By Alex Watson

Joel Edgerton's career as a director so far shows he is unafraid to tackle sensitive subjects. Adapting Garrard Conley's hard-hitting memoir Boy Erased, Edgerton gives a powerful commentary about the effects of LGBTQ people forced into conversion therapy. He also addresses the fears and often irrational actions of parents concerned more with their image than accepting their children. With a breakout turn from upcoming star Lucas Hedges, this is one of the most powerful films that 2018 has to offer.

Jared Eamons (Lucas Hedges) is a young man who is the son of  Pastor Marshall Eamons (Russell Crowe) and doting mother Nancy (Nicole Kidman). While away at college, he is outed as gay to his parents who offer him a  compromise- either be disowned or attend gay conversion therapy. Forced to attend a program under the leadership of the outspoken Victor Sykes (Joel Edgerton), Jared quickly becomes disillusioned with the message being given and has doubts over whether it will cause any real change.

"You cannot be born a homosexual. This is a lie, its a choice," comments Sykes at one stage. Throughout Boy Erased, Edgerton is able to tread a very fine line with his message on conversion therapy. Jared is a young man who encompasses the All-American boy, he is popular, athletic and comes from a loving but devout Baptist family. Edgerton jumps back and forth between timelines to give an impression the past that has plagued Jared. One of the more harrowing sequences comes from when Jared meets fellow college student Henry (Joe Alwyn) and a blossoming romance quickly turns into a sexual assault. Starting in almost rom-com style, this switch from a meet-cute to a life-altering event is shocking. From here, Jared's life begins to unravel. Under Sykes rule, the attendees are frequently put through the emotional wringer and are often derided. Sadistic instructor Brandon (Flea) is particularly savage- forcing students to line up in order of how manly they seem.

Everyone is simply trying to do the right thing, Sykes while abusive and narrow-minded is under the illusion that he is fixing people. However, this approach brings up some moments which are almost unbearable. Such as when fellow classmate Cameron (Britton Sear) is forced to be beaten by his family with bibles to 'strike out the demon'. The slow camera shots and dark orange glow of the room make this look almost like a horror film. Thankfully, Edgerton resists the urge to make these people cartoonish villains and instead he shows people more bound by tradition than hate. Marshall is a proud father who is wary of his families image and is unable to shake the old ways but never once is he made out to be hateful or prejudicial. Nancy is also an old-style mother who 'falls in line' but throughout her awareness about the horror of the situation grows to the extent where she can barely disguise it. Jared at first agrees to this treatment due to his love of the family, but frequently he finds himself plagued by self-doubts and his growing backbone skulks the screen like a tiger. He is never a big talker, but throughout his quiet manner, you can sense his frustration and confusion building.

Boy Erased is a frightening commentary on the real effects of being forced into the closet. In the program, the students are all just trying to push through, but the threat of being kept long term is one that is utterly horrifying. Edgerton smartly casts Quebecois director Xavier Dolan as the conflict Jon who 'salutes' rather than touching others and Australian singer Troye Sivan who encourages our hero to 'fake it till you make it!' These people are always to refer to their homosexuality as a sin and this repression and mental abuse is shown as harming lives rather than saving them. While this type of story might be familiar and in some cases almost a Hollywood staple, Edgerton is able to project a much need bite into proceedings with overselling the potential redemptive themes. One beautifully acted scene towards the end sees Jared finally lays out to his father how their relationship should be and guaranteed there will not be a dry eye in the house! "I don't want to pretend anymore' our hero says and right there is the official slogan the movie is looking for.

Lucas Hedges has already been making a name for himself with his turns in movies such as Manchester by the Sea. Here, he ensures that his name will be among the nominees come Oscar time. His performance is one of great reserve and he fully amplifies the pain and confusion that Jared feels. He also finds room to also give him a likeable yet smart-ass feel as the movie increases and by the end, this character has become fully rounded. Nicole Kidman also gives her all in the supporting department and Nancy's love for her son is frequently tested by never once broken. Russell Crowe has a hard task portraying the unshakable religious father but he adds a human element to this role which shows how a father's love often conflicts with his morals. As the hard-headed Skyes, Joel Edgerton delivers a performance that at times is at risk of being a caricature, but mercifully he elevates his performance to show a man convinced his is doing God's work but his short-sighted approach is only succeeding in driving away those he wants to save. A little tidbit about him at the end credits will raise a smile.

Some may see this type of film as a guaranteed road to Oscar glory- but you can't deny the sheer power of storytelling in Boy Erased. On performances alone, this has serious awards contention.

One Giant Leap: Review of First Man

TIFF EXCLUSIVE

First Man

Director: Damien Chazelle

By Alex Watson

In just four movies, Damien Chazelle has emerged as one of the most innovative directors in Hollywood. His Neil Armstrong biopic First Man now pushes him into the stratosphere. Capturing the sheer danger involved with the 1960's 'Space Race', Chazelle brings us an astonishing take on one of the most important historical events. Rather than get bogged down in patriotism, he gives us an authentic look at ordinary engineers trying to pull off a monumental task.

Neil Armstrong (Ryan Gosling) is a civilian pilot who is considered to be something of a wildcard. Eager to push the boundaries, Armstrong joins the NASA Space Program which quickly sees him set against other experienced pilots such as Ed White (Jason Clarke) and Buzz Aldrin (Corey Stoll). While his reputation will slow skyrocket, there are also several tragedies that emphasize the hard mission that lies ahead. What follows will cement his name in history. 

First Man immediately hooks its audience from the first frame as we see a young Armstrong as a test pilot. Bringing his vessel up on the edge of space, he soon gets caught in a nightmarish scenario as he continually rises towards the great unknown. The sheer tension and exhilaration is but a taste of what is to follow. Armstrong is a quiet and slightly introverted man who is reeling from a personal tragedy. Preferring numbers to people, this picture perfectly channels his dislike of the public eye but shows the sheer tenacity he brought to the job. Considered a liability in the air due to several 'mishaps' he faces some stigma from his superiors. Shot in an almost subdued colour ratio by DP Linus Sandgren, Chazelle lets the pace roll along slowly and gives his audience time to understand its protagonist. His wife Janet (Claire Foy) is wary of the task her husband is trying accomplish, but her fears and concern are loudly voiced.

The 1960's Space Mission was one of great tragedy and Chazelle never lets the audience forget the good men who lost their lives. The Apollo I disaster is the most horrific of them all and NASA at this point is literally playing with fire. As the deaths stack up, so do the fears of both the men and wives involved with the project. The director refuses to go easy on his audience when it comes to technical details and the mathematics and jargon come thick and fast throughout to give us a glimpse of how thorough and precise each person would need to be to prevent even the smallest error. The moon landing is highlighted as the main goal, but the movie's most unbearably tense scene comes from when Armstrong's Gemini 8 attempts a test docking sequence. Those how are claustrophobic may want to look away because never once does Chazelle take the action out of the crowded cockpit and rarely leaves the face of Armstrong and as the spacecraft spins faster out of control, so do the nerves all audience members. Set to regular composer Justin Hurtwitz's screeching score, any hope we have a relaxed and peaceful film vanish into the depths of space. During the sequence, there was no green screen involved and the reactions on the cast members are very much real!

As First Man nears its final mission, there is a sense of strain building as Neil is forced more into the path of the press. Unlike the more jovial and charismatic Aldrin, Neil loathes the attention and public scrutiny that the space race is considered costly and wasteful. The potential threat to their lives is made overwhelming clear.  One scene even sees Chief Deke Slayton (Kyle Chandler) is forced to listen to a death announcement pre-written for the Apollo 11 crew. When we finally reach the moon, the audience is finally allowed to exhale. This picture, however, always keeps Armstrong in its sights and it is a very fascinating portrayal of a man considered an All-American Hero. His bravery in the face of adversity is utterly enthralling, but few of us understood the personal cost it involved.

Ryan Gosling in his second outing with Chazelle perfectly channels Neil Armstrong. A fiercely private man with no time for silly questions or intrusions, Gosling shows us a man fighting an internal battle and having to keep himself in check when good men are dying all around. At times a surly and far too literal human, Gosling shows us a lighter side to his character around his family combined with an intense fear of disappearing into the great unknown. This could well be Gosling's year for Oscar glory. Claire Foy however, emerges as the one who wins the audience sympathy and as Janet Armstrong she captures the audiences growing concerns as her husband prepares to embark on a possible suicide mission. So frequently this type of character is underwritten, but in this piece, Janet is given room to grow and we see firsthand the toil it creates on her family life.

First Man is a remarkable piece of work about an event that was so well documented. At only 33, Damien Chazelle has already earn a place among the elite.

Black and White: Review of BlacKkKlansman

BlacKkKlansman

Director: Spike Lee

By Alex Watson

These days it is difficult to define a 'Spike Lee Joint' because, after a powerhouse late 80's/early 90's, his modern-day results have been a mixed bag. BlacKkKlansman sees him finally getting back on track and the result is a hilarious yet powerfully relevant piece on racial tensions. Based on a true story of a black officer infiltrating the Ku Klux Klan, Lee is able to make this unbelievable tale not only seem plausible but gives us several characters which go deep.

Ron Stallworth (John David Washington) has recently become the first ever black police officer for the Colorado Springs Police Department. Dissatisfied with his treatment, on a whim he called the local chapter of the KKK and pretends to be an all-hating white male. Realizing that he cannot show up in person, Stallworth convinces white officer Flip Zimmerman (Adam Driver) to become the face of the operation.

Set in 1970's America, the country is still a hotbed for discrimination and despite Stallworth's efforts, he experiences racism from the outset. Even his own co-workers refer to black suspects as 'Toads' and this early hostility is wonderfully exposed by Lee. The very notion that Stallworth was able to convince the KKK over the phone gives the movie the bulk of its laughs. "God bless white America!" he heartily jabs during one of their first phone calls. Stallworth emerges as the real thinker of the group and these calls gradually become a recurring joke in the office. His conversations with Grand Wizard David Duke (Topher Grace) are the true highlight, particular Duke's observation of how Ron must be white given how he pronounces the letter 'R' correctly.

The activism of this era is also given its fair share of focus, in pair Black Students Union president Patrice (Laura Harrier) whose fire and refusal to bow to pressure gives her an instant magnetism. Ron is drawn to her desire to oppress the klan simply by existing. A passionate speech by activist Kwame Ture (Corey Hawkins) gives Stallworth exposure to what is yet to come and stirs something deep inside to begin his mission. Zimmerman is also a man fighting against his own prejudice as he is a Jewish police officer and for the first time, he is forced to defend himself. Faced with any number of anti-jewish rants by bitter klan member Felix (Jasper Pääkkönen), Flip has to continually tread the fine line.

In BlacKkKlansman, Lee is able to keep a fine balance between laugh out loud comedy and a political commentary. This is what makes this movie of the most unique 2018 has to offer. While the fight for equality may still be going on, Lee makes it clear what his audience will need to do and who the real enemies still are. Stallworth is an officer not just conducting a personal crusade, he is fighting for all the others still being wronged by a corrupt and racist system. As the sheer absurdity of this situation escalates, so does the tension of the movie. In Donald Trump's America, this movie is quite possibly one of the most potent commentaries on the state of current events.

John David Washington gives a central turn which firmly puts him on the map. The son of Denzel has certainly inherited his father's charisma and leading man chops. Throughout this piece, he is an engaging and hilarious character whose street smarts mark him out as a real leader. Familiar to fans of Dwayne Johnson's show 'Ballers' there is a new Washington in town now! Adam Driver is also excellent as the conflicted Zimmerman. Finally forced to face acknowledging a religion he grew up with by never identified with, Driver channels his doubts and insecurities about infiltrating the Klan. Always a reliable character actor, this guy is fast becoming one of Hollywood's most dependable leading men. Laura Harrier also gives her career a massive shot in the arm as the determined student leader Patrice.

BlacKkKlansman is a movie where Spike Lee finally regains the voice that had previously been lost. This might be a tough movie for awards contention, but Lee is definitely back on track.

Golden Age of Grotesque: Review of McQueen

McQueen

Director: Ian Bonhote and Peter Ettedqui

By Alex Watson

Lee Alexander McQueen was no ordinary person. Rising from a working-class lad from London's East End to being among the top fashion designers in the world, he earned his stripes several times over. His often dark yet savagely beautiful shows showed an artistic eye like no other. His suicide in 2010 rocked the fashion world to its core and deprived the world of an artistic genius. Directors Ian Bonhote and Peter Ettedqui's biopic McQueen delves deep into the soul of a troubled and restless individual who was often at odds with himself.

His humble beginnings would pave the way for this average young man to become something else entirely. It is revealed that some of the abuse he witnessed and suffered at the hands of certain family members would give way to a darkness that frequented his work. His 'Highland Rape' show, in particular, was an early example of how fashion could embrace the grotesque side of humanity. Convinced by his lifelong friend and mentor Isabella Blow to use his middle name as it would make him sound more refined, Bonhote and Ettedqui show McQueen's hard rise up the fashion ladder. Dubbed the "King of the Yob Culture", and "L'Enfant terrible" among others Lee would have to fight hard to shake off this image. Being a chubby skinhead from a distinctly unglamorous background, there was a chip on his shoulder that gave him an edge.

The early work is shown as something that fashion had never before seen. McQueen was actually still on benefits at the time of his collection and was forced to hide his face during his first TV interview on 'The Clothes Show'. Artistically there was a surreal beauty of his work and in McQueen shows the boldness and electricity he was capable of bringing to a catwalk. Models being sprayed with paint by robots, cars accidentally set on fire and an Atlantis inspired show- Lee was never the same artist twice. It also brings forward the audacity and sheer brilliance of his notorious 'VOSS' show which set inside an insane asylum was a two-way parody of the fashion industry itself. This cool feeling he was able to bring to British fashion now seems quite extraordinary and he was truly one of the last underdogs in the fashion world.

As a man, McQueen is shown to be a person of many different sides. On the one hand, he was a committed family man whose relationship with his mother gave him a stability that few others could offer. In his work life, he was a man whom could be difficult and demanding but was highly respected by his peers. His increase in success, however, meant a dramatic shift in loyalties and attitudes. His perhaps unwise move to become Creative Director of Givenchy (McQueen called the founder "Irrelevant" upon their first meeting) opened his world artistically but also lead to him become a newer and more difficult persona. One of the more heartbreaking aspects of the film is learning how he pushed Isabella aside despite her years of support. Loyalties become broken swiftly as fame increases and soon the pillars of support crumble.

Fashion can be a cruel world to be associated with and the savagery of this is shown to have eventually taken a toll on McQueen. Crash diets, cocaine use and the intense pressure are just some of the elements that could have pushed him over the edge. McQueen seeks not to point fingers but to ask the immortal question of who could have helped? There is a jagged sense of remorse among his former peers and while a major success, this man was plagued by an inner torment that couldn't be relieved. McQueen is a movie that is equal parts fascinating and devastating. The man's genius on the catwalk was legendary but underneath the man himself was just as compelling.

Ghost Protocol: Review of Mission Impossible: Fallout

Mission Impossible: Fallout

Director: Christopher McQuarrie

By Alex Watson

The Mission Impossible Franchise seems to have found its perfect duo in Tom Cruise and Christopher McQuarrie. The new effort Mission Impossible: Fallout somehow not only tops the exhilarating thrills of Rogue Nation but also gives this movie an emotional core. Gone are the days of good-natured fun and for the first time ever, The MI franchise seems to be unafraid to explore character depth.

Ethan Hunt (Tom Cruise) and his crew (Simon Pegg and Ving Rhames) are caught in an awkward position after a mission in Berlin goes wrong. Faced with the world's potential destruction from a plutonium bomb, Hunt faces his most perilous mission yet. The re-introduction of old frenemy Ilsa Faust (Rebecca Ferguson) also complicates matters. Then there is the added problem of the CIA sending handler August Walker (Henry Cavill) to babysit his team.

There has been a sense of this franchise beginning to grow a conscience, Mission Impossible: Fallout is a movie that finally highlights the ramifications of Ethan Hunt's occupation. There is friction aplenty amongst the IMF team-members from the very start. Forced to be partnered with the hulking Walker and chasing a terrorist intent on resizing the world's population through deadly means, to put it mildly, things look very bad. While McQuarrie keeps his dialogue scenes brief and to the point, the sheer amount of thrills speak volumes. Frequently, this franchise finds new ways to provide jaw-dropping set pieces and here, it's on whole new level. A gripping bike chase through Paris, a bathroom fist fight that veers into almost 'Hulk Smash' territory to finally Cruise doing what he does best- running over rooftops! The sixth instalment plays its ace cards smartly and rather than getting lost in an overly complex plot like parts 2 or 3, details are kept to the point at all times Simplicity and entertainment are the key items on the agenda here.

On this occasion there finally seems to be more of an action's have consequences element to affairs. In a rare move, Rogue Nation villain Solomon Lane (Sean Harris) is swept back in to bring a cold and creepy element to proceedings. Lane is the ghosts of IMF past and through his almost whispered dialogue, Hunt's whole world is put into a tailspin. Just what has Ethan gained from accepting all these missions? How do you sleep at night when the world is at stake? The team comradery has never been better and frequently see we scene that demonstrates a deep trust and how far a teammate will go when lives are on the line. The reintroduction of Ilsa is also smartly played, once again remaining morally ambiguous, guessing her motives is literally mission impossible (sorry for the pun). Hunt both needs and mistrusts her in the same breath, but why does she keep crossing him? On his mind is also ex-wife Julia (Michelle Monaghan), which ironically becomes one of the movies key devices late on.

While Mission Impossible: Fallout does lose a few marks for a rather obvious plot twist, it can be forgiven because the last act contains pure excitement. Each MI film has to have one out of this world set piece- it finds it with a midair helicopter battle against stunning mountain scenery. A potential disaster has never looked so beautiful or been this fun before. McQuarrie also finds little moments of joy amongst the against-the-clock feel. Luther undergoing an unlikely bonding session while defusing a bomb is just one of these. The next instalment is going to have one hell of a task bettering this one. This series is now on firm footing and Ethan Hunt can now officially take his place among the very best of franchise heroes.

Tom Cruise shows no signs of slowing down in his twilight years and once more he is unafraid to get physical. Hanging off cliffs, riding bikes at breakneck speeds, brawling alongside Superman- all in days work this guy. Cruise is also able to handle the more human side and show us a glimpse into the troubled mind of Hunt. At heart, the world will always come first but there will forever be a 'what if' surrounding his entire being. Rebecca Ferguson again is able to match Cruise and makes this character impossible to read. Ilsa is becoming a welcome new addition to this franchise. Henry Cavill is also solid support as the big muscled Walker and he adds an air of mystery to his conclusion. Some may have focused on his moustache (which had to be digitally edited out during Justice League shooting), but Cavill once more shows he is a safe bet for a big budget piece.

Mission Impossible: Fallout proves that sixth time really a charm. Cruise and McQuarrie together is becoming the dream team these movies need. Let's just hope its a lucky number seven next time.

The Greatest Love of All: Review of Whitney

Whitney

Director: Kevin MacDonald

By Alex Watson

We have seen the plight of the supremely talented female singer in documentaries before, but Kevin MacDonald's Whitney packs a heavy emotional punch. Bursting onto the scene in the late 80's, Whitney Houston seemed destined for a long prosperous career. This movie goes deep and shows that underneath the powerful Ballard's lay a deeply troubled soul whose descent into drug and alcohol addiction broke many hearts worldwide.

Starting with the bright and bouncy sounds of 'How Will I Know' the early part of Whitney pops with colour. Few singers have become such a sensation in a short period of time and MacDonald expertly captures the euphoria that surrounded Houston's early career. Her music is set against images of events such as the Gulf War and her beginnings in music were a particularly patriotic time for the nation. Her belting rendition of 'The Star-Spangled Banner' at the 1991 SuperBowl still gives us goosebumps and we tend to forget how her country embraced her as an All-American symbol. While there is a light and breezy feel which demonstrates the early optimism and confidence of Houston, MacDonald is unafraid to delve into the dark depths of her past which reveal telltales signs of the problems that would eventually take her life.

Houston's childhood on the surface seems like a perfectly fine and loving one. Nicknamed 'Nippy' by her family, she was raised in urban New Jersey in a big and musically gifted family. Her mother was R&B singer Cissy Houston and her cousin was Dionne Warwick. Along with being an avid churchgoer and talented choir singer- it seems almost like a blueprint for fame. However, as the lid gets gradually lifted it reveals a very troubled family. Her parents divorced amidst multiple affairs on both sides. One of her siblings hints at sexual abuse by a female relative and both her brother Gary and Michael openly confess to providing their sister with her first experience of drugs. Her father John also comes across negatively and appears as a puppetmaster type figure more interested in his daughter's earnings than her own wellbeing. Then we come to the notorious and often blamed husband Bobby Brown. A big star upon their first meeting and then super quick marriage, his jealousy at his descent and her rise in fame seemed to spark a furious internal rage. Soon he becomes more her enabler and dealer than loving, supportive figure. Whitney's dedication to their increasingly ridiculed and disastrous marriage is genuinely heartbreaking.

Her starring role in the 'The Bodyguard' along with her monstrously successful song 'I Will Always Love You' pushed her 'into the stratosphere'. It was also when the cracks start to appear in her once perfect image. Her family at this point all seemed to be along for the ride and combined they would push her towards her tragic demise. There is a heavy sense of denial on all sides throughout Whitney and it appears no-one thought to register or notice the demons on display. Even Arista head honcho Antonia 'LA' Reid denies all knowledge.  MacDonald shows us a star slowly breaking apart in the slowest and saddest way possible. Soon Houston beings missing shows and when stories of her drug addiction surface, no amount of damage control can save her. Her inebriated interview with Diane Sawyer was particularly harmful. Daughter Bobbi Cristina Brown was the one who took the brunt of the fallout during this time. Neglected by both her parents, any of the talking heads concede that this young lady never stood a chance (Bobbi Cristina would die less than a year after her mother).

The decline of her once powerful voice robs Houston of her sense of purpose and seeing clips from her shambolic final tour are cringing. There was only one way this kind of downward trajectory could end and MacDonald gives it to us in the most crushing way possible. During the movie's opening sequence, we get a glimpse of what is to come. In an interview, Houston talks about a recurring dream where she is being chased "When I wake, I'm always exhausted." This quote alone will set the tone of a woman who was always running from her demons but never able to confront them.

Whitney is a movie that reminds us of what a huge talent has been lost to the world. Kevin MacDonald takes a well-known figure and presents her in a light that was never thought possible. One of the strongest documentaries 2018 will offer.