So I haven’t reviewed anything here in a while because I am a disgrace, which means I now have two months worth of films to catch up on. In this post, I will just deal with the films of March. Shortly afterwards, I shall cast my critical eye over April, but don’t hold your breath for that. I had wanted to do full reviews of some of these but life got in the way so what are you going to do?
If Beale Street Could Talk
If Beale Street Could Talk, director Barry Jenkins’ follow up to the Oscar-winning Moonlight, is one of those films that completely transforms your worldview. Harnessing the unique sensory power of cinema to immerse you completely in its perspective, If Beale Street Could Talk is the closest a white English guy like myself can get to understanding the African American experience. Following the wrongful conviction of Fonny from the point of view of his girlfriend Tish, Jenkins ensures you feel the injustice of his treatment by juxtaposing the intimate vignettes of their romance against Fonny’s brutal imprisonment and their tragic separation. Through this approach, the film maintains a level of hope in the love of individuals whilst never losing sight of the horror of the systemic problems its targeting. It’s a remarkably crafted film, especially during the romantic sequences as Nicholas Britell’s ethereal score melds with James Laxton’s swooning cinematography to produce pure cinematic poetry. At the time of writing, If Beale Street Could Talk is the best film I’ve seen this year and it’s going to take a lot to topple it.
Marvel’s first film with a female lead is going to be subjected to more scrutiny than it deserves. It is ridiculous that it took Marvel 21 films to do this, so I’m reluctant to feel that excited that they finally got round to it. Like, well done, you’ve done the bare minimum and it only took you ten years. The fact that it’s taken this long has only added to the titanic expectations placed on the shoulders of Marvel’s flagship female superhero film. As a result, the fact that it’s just okay is a bigger deal than it would’ve been if this was a Hawkeye film or something. We haven’t had an origin film in the MCU for a while, but the formula is still quite stale. Captain Marvel attempts to freshen it up with the amnesia device, having Carol Danvers gradually piece together her origin story over the course of the film from her memories, which is more compelling than having it just happen to her. There’s also a solid twist that gives the film a surprisingly thoughtful political message that is only slightly undermined (okay quite a bit undermined) by the blatant US Air Force propaganda. Otherwise, Brie Larson and Samuel L. Jackson have solid buddy-comedy chemistry and the cat is good. Captain Marvel is comfortably mid-tier MCU and that’s alright, but it would’ve been nice if their first female lead got something more exciting.
Going into Fighting With My Family, I didn’t care about wrestling. Fortunately, that didn’t matter. Written and directed by Stephen Merchant, this is such a compelling film that my indifference to wrestling is never a problem. It may go through all the typical motions of a sports film but it does so with masterful assurance. Merchant’s script features genuine drama and hilarious comedy in equal measure and his direction in tandem with the cast bring it to life in gripping fashion. As the title suggests, the focus is firmly on the conflict within the family and confident performances from the likes of Florence Pugh and Jack Lowden pull it off with sincerity and authenticity. The focus on wrestling also allows for some thoughtful commentary on class culture, subverting the middle-class sneering the sport tends to receive. Regardless of your prior attachment to wrestling, Fighting With My Family will have you on the edge of your seat like the most devoted of WWE fans.
With Get Out, Jordan Peele established that he was capable of making a great film. With Us, Jordan Peele establishes that he is a great director. I loved Get Out, but there is an attention to detail in Us that elevates the director to true auteur status. Peele conjures an arresting aesthetic, horrifying and striking on a level his debut only hinted at. The many visual motifs - from the spindly golden scissors to the grimly surreal rabbits - are sure to ingrain themselves in your psyche and disturb your sleep with abstract nightmares. As a result of this enhanced surface atmosphere, the meaning underneath is more enigmatic than Get Out. There's a myriad of subtle details to unpick and I don’t think anyone will be able to figure out everything Peele is saying here. However, that only makes it all the more memorable, as the questions it raises continue to occupy your mind long after you finish the film. Whatever his point is, Peele makes it in a deeply unsettling way and the cast, led by the uncanny Lupita Nyong’o, breathe life into his twisted vision to leave an unforgettable impression. Us is no sophomore slump.
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