August Review Roundup
Past Lives – Nora (Greta Lee/ Moon Seung-ah) and Hae-Sung (Teo Yoo/ Leem Seung-min) are best friends who have a childhood crush on each other, so much so that Nora asks if she can date Hae-Sung. However, the two are soon separated when Nora’s family immigrate to America. Now, even though the two are worlds apart, they have a bond that will bring them together at two other points in their lives, highlighting how they have changed, but are ultimately still connected. Past Lives is a tender, resonant account of two people with a profound bond. Through divergences in culture and career, Nora and Hae-Sung are still bound to each other through fate or, as the two call it, “in-yeon” (a connection between two people that span multiple lifetimes). Even, with its typically romantic set-up, Past Lives is more interested in the complexities of love and its undying, evolving form. For Nora and Hae-Sung, love is not one static entity, but something that sleeps and reawakens over time. It is Greta Lee and Teo Yoo’s naturalistic performances that manage to convey love’s intricacies, as their eyes look deep into the soul of the other with longing and a tinge of wonder. There is a meditative quality to Song’s direction that allows the viewer to soak in this relationship, bringing focus to the dialogue and characters. Past Lives is one of the sweetest films of the year and a heartfelt look into the everlasting and indecipherable ties.
Score: 9/10
Passages – Tomas (Franz Rogowski), is an accomplished film director and has just finished shooting his latest production. He has been married to his husband, Martin (Ben Wishaw), for years, however, when at a party with his crew, Tomas sleeps with a woman for the first time, throwing his marriage into crisis and confusion. Passages is an unpredictable and fascinating look into sexuality and the power dynamics of relationships. Tomas’ self-centred and narcissistic persona is engrossing to watch and is captured brilliantly through Rogowski’s duplicitous face. He has the eyes of an innocent deer, but his seductive soul is transparent, only wanting what suits him in the moment. Wishaw is also terrific as the emotionally scarred husband, exhausted with Tomas’ behaviour and is conflicted in whether to stay or move on from Tomas. His facial expressions manage to convey fragility and fatigue with his relationship that highlight the damaging history between them. Adèle Exarchopoulos’ as Agathe, is similarly effective in her role as the alienated woman, bringing understated tragedy to someone lost in the throes of passion. Passages is exquisitely shot with cinematographer, Josée Deshaises, utilising natural light and evocative close-ups to bring life to this troubled threesome. Director Ira Sachs delivers on an intriguing look into the unjust consequences of loving someone and the victims it leaves behind.
Score: 9/10
Scrapper – Georgie (Lola Campbell) is 12 years old and has been living by herself since the death of her mother. Georgie manages to get by through stealing bikes with her friend Ali (Alin Uzun) and selling them for parts. Georgie’s freedom is soon put to a stop however, when her birth father, Jason (Harris Dickinson), appears at her door to take care of her. Scrapper is a sweet British Indie film, spearheaded by Lola Campbell who brings authority and nuance to Georgie. The faux toughness she gives to Georgie only layers the emotion of the film bringing weight to Georgie’s more vulnerable scenes. Scrapper’s best attribute is its explorations into the misconceptions of grief and its state of flux, not simply being binary stages. Harris Dickinson provides interesting conflict and humour to the film, as a man who still has not grown up and struggling to fit the role of a father – who throughout appears more immature than his 12-year-old daughter. While the film’s central story revolves around the clashing and eventual growth of the father and daughter relationship; the progression in their relationship could have been fleshed out further and, in turn, even out the film’s pace.
Score: 7/10
Blue Beetle – After graduating from Gotham University, Jamie Reyes (Xolo Maridueña), finds his family down on their luck and on the brink of losing their home. In an attempt to find a job, Jamie, befriends Jenny Kord (Bruna Marquezine), who brings Jamie in on an attempt to stop the Kord corporation from using an ancient device known as, the scarab. However, Jamie gets more than he bargained for when the scarab chooses him to become the Blue Beetle, harnessing unpredictable and dangerous powers. While Blue Beetle is derivative of countless other superhero origin films (most especially, Ant-Man), it is a charming flick in its own right. Much of this can be attributed to the charismatic and likeable Xolo Maridueña, who brings energy, emotion and relatability to the character of Jamie. The whole ensemble are incredibly committed to their roles, giving the drama heft where other comic-book films have faltered. The film has a good sense of humour, with quick jokes and visual gags bringing some laughs throughout. Yet, Blue Beetle’s flaws are inherent due to it being a comic book film, thus the action is compulsory, and it is easily the most boring element; let down by lacklustre visual effects an unmemorable choreography, which in turn makes the third act drag. However, the family story at its core is endearing and the focus on the Latin American experience is refreshing which in turn brings real heart to Blue Beetle, making it one of the better comic book films of the last few years.
Score: 7/10
Meg 2: The Trench – After the events of, The Meg, Jones Taylor (Jason Statham) now fights to protect the world’s oceans. Working with Mana one, he journeys down into the Mariana Trench to find rare natural resources worth billions of dollars. However, Taylor and his new crew find themselves trapped within the trench after their submarine has been sabotaged. Meg 2 is a completely lifeless picture. Even with its silly concept it cannot deliver on some decent action or hilarity. There is no energy, rhythm, or a sliver of effort to make this exciting or interesting. Every actor is checked out from minute one, while its structure is identical of its predecessor. Seriously, how do you make Jason Statham fighting three megalodons boring? This is a failure that needs to be studied.