January Review Roundup
Licorice Pizza- On one afternoon in 1970s California, Gary, (Cooper Hoffman) and Alana (Alana Haim) cross paths and form a strange connection. Although rather plotless in nature, Licorice Pizza is engrossing through its personality and enveloping 1970s aesthetic. The film is funny throughout with some minor appearances from Sean Penn and Bradley Cooper that are truly hilarious in their ridiculous insanity. The film does drag at points however, being a tad overlong. The pleasantness of the film is also soured by a rather problematic ending that I am surprised hasn’t stirred up more controversy. Perhaps with a different ending and a few extra cuts this could have been another home run for Paul Thomas Anderson.
6/10
Parallel Mothers- After suddenly becoming pregnant, Janis (Penélope Cruz), befriends another soon to be mother, Ana (Milena Smit), as their lives are soon to be intertwined. The plot is quite engrossing at first, with particularly peculiar twists that raise questions as to how the title of mother can change one’s identity. Cruz and However, the film doesn’t maintain this momentum. When big character revelations are revealed that should bring with them some exciting conflict, the issues are handled nonchalantly and briskly pushed aside. The film also has some baffling visual issues that make the scenery appear particularly flat and even fake at times, which is even stranger considering there is real smoothness and rhythm to the camera work elsewhere. Sadly, Parallel Mothers is a film with an interesting conceit that loses momentum in its second half.
5/10
Nightmare Alley- After ridding himself of his past, the mysterious and devious Stanton (Bradley Cooper) begins on a journey to riches through devious trickery that will send him further into darkness. Nightmare Alley is a respectable and stylish remake of the 1947 film that follows its mould to deliver a classic tale of moral corruption. Stacked with a stellar cast form Cate Blanchett to Willem Dafoe there is no shortage of talent to be found here. Transportive through its slick set design and moody direction, Guillermo del Toro works his magic once again to enrapture us in this seedy world of criminal immorality.
8/10
Scream- The meta-horror franchise is back after 11 years with this sequel/soft-reboot (or “requel”) as the Ghostface Killer returns to the small town of Woodsboro. Each instalment of the Scream franchise has commented on a different aspect of franchise film making. From its worn-out tropes, sequels, trilogies, remakes and now the reboot. While the meta-commentary on reboot culture and toxic fandom is well handled (if not more uniquely dissected in last month’s Matrix: Resurrections) it lacks that wicked fun of the original and even its direct sequel. The amusement in these sorts of whodunnits comes from our investment in the group we are introduced to, but none of this new cast are all that interesting; while our new leads don’t have much to them either besides a backstory that ties into the franchise’s history. While the film boasts some interesting commentary, gruesome kills and the charm of the returning cast, the lack of any memorable characters and at times cringe script make the whole thing feel rather underwhelming.
5/10
Boiling Point- Filmed entirely in one take, Boiling Point follows head chef, Andy (Stephen Graham), as he tries to maintain control of his personal and professional life as mounting crises come to a head on one of the busiest nights of the year. Boiling Point is a relentlessly entertaining flick that captures the stress and animosity of the hospitality industry. This is all heightened by the exceptional performances from Graham and co-star, Vinette Robinson, in particularly. The use of the one-shot technique that, although may appear gimmicky, actually becomes an effective tool in making us feel we are being exhaustedly rushed around this hectic restaurant. Yet, within all the frantic goings on, Boiling Point still manages to take time to highlight each character’s own personal issues through brief but effective vignettes.
8/10
Memoria- One night, Jessica (Tilda Swinton) is woken by an unidentifiable sound that seemingly only she can only hear. Memoria is perhaps the most difficult film this month (or of any month) to truly define. While it falls under the category of slow cinema, with its long steady shots that can last minutes at a time, it is an undoubtedly mysterious picture. Minimal and mediative, it is a film that requires true patience in order to uncover what director Apichatpong Weerasethakul is truly saying. He raises interesting ideas as to the connection between human beings and the dead and even the primordial. However, it is the film’s jaw-droppingly bizarre ending that brought my own interpretation of the film into question and may be too ridiculous for many. However, overwhelmingly perplexing ending shouldn’t detract from the film’s strengths. Tilda Swinton is brilliant as always and there some wonderful scenes peppered throughout, like a continually unsettling dinner scene or when the film simply takes a moment to showcase some excellent live music. Memoria is a rare film in its sheer stillness and obscurity in its meaning. Nevertheless, there is genuinely no other ending that will make you exclaim “what?” quite like Memoria’s and, perhaps, this may be worth a watch for the discussion it raises alone.
7/10
Mass- Two couples come together to discuss their experiences of a shooting that has taken the lives of both their children. Four characters. One room. This is all that Mass utilises and yet it is one of the most enthralling experiences I have seen in a long time. Through sharp, engaging dialogue and perfect performances from the entire cast that capture the full array of human emotion- it is a film that never lets you go. It is a film that calls to attention so many societal complexities and the dangers of generalisation; how labelling things as black and white or with one-word definitions leads to dangerous and misguided ideas of the world around us. While the subject matter may appear bleak and unapproachable, it is absolutely not a film that leaves you miserable, but hopeful. One that shows us the process of pain but is ultimately about forgives and even the hope that can be found in each other. Mass is a powerful film and one I hope everyone sees and it is available now on Sky Cinema.
10/10