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1/10
Lazy at best, potentially damaging to a young audience at worst.
24 June 2021
Warning: Spoilers
This feels like a school project somehow ended up being made into a film. The acting is often over-the-top and uncomfortable to watch, and the characters felt cliché and two-dimensional. It is an attempt to deal with the topic of teen suicide, and yet fails at every turn. The dialogue is very stilted and the stories are unoriginal and stereotypical. I ended up skipping some of the slower parts, and I wish I had skipped the whole film.

Perhaps this film could have been better if it focussed on the story of just one character, because it tries to cover too many stories and ends up lacking depth. I think they were aiming to look at the different reasons that lead people to consider suicide, but these end up being far too simplistic: one character is transgender with unsupportive religious parents, another is a high-achieving student who is pressured to be 'perfect' by her mother, and another is a jock being bullied by his team. And there's one other character who has barely any screen time, apart from her death in a bathroom stall. These characters are only really seen through their social media presence and their deaths, all of which is overtly performative and disingenuous.

I appreciate the idea behind using vlog-style footage, but it is hard to do well and here it ends up feeling so amateur that it just adds to the failures of this movie. When this type of cinematography is combined with bad acting and a bad storyline, not even good intentions can save this film.

Another note I will add to this review: the general guidance for films (especially ones aimed at a younger audience, such as this one) is to avoid depicting suicide methods. This guidance is informed by a number of academic studies into the topic. This film shows a number of suicide methods, and although the intention is clearly intended to help people struggling with suicidal thoughts, it could easily have the opposite effect and trigger copycat suicides (known as the Werther effect). I am personally sick and tired of film makers not researching such sensitive topics and continuing to make garbage with a faux-positive message, lazily profiting off the ordeals faced by individuals suffering from poor mental health.
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Music (I) (2021)
2/10
Not sure why I gave this a go...
16 February 2021
So this seems to be a story about a drug addict (Kate Hudson) trying to get sober. Then the writers tacked on a few extra bits: she has an autistic half-sister (Maddie Ziegler performs a cringeworthy parody of a person with autism here), she's starting a romance with a guy from next door (Leslie Odom) who mentions that he has a dead autistic brother (which is then never spoken about again).

There's also a subplot about a young boy with a difficult home life, but it feels like the film is already trying to do too much to be able to handle the portrayal of domestic abuse with any complexity or care. The end implies that this boy is murdered by his father, but suddenly we're surrounded by rainbows and joy while the protagonists laugh? This story deserves more time and attention but instead it seems like a discarded prop intended to say 'violence bad' or something.

Another point that I found really uncomfortable was Sia's own appearance. She's buying drugs illegally, apparently she's 'doing charity now' and is going to send the drugs she buys (all strong painkillers) to Haiti 'because there's been an earthquake'. If that wasn't bad enough, she mumbles something about 'Popstars without Borders'. I wish I was making this stuff up. Nope, Sia finds time in this movie to make a joke out of the victims of natural disasters.

This patchy story is compounded with randomly interjected songs and an absolute mess of a costume department. The levity and absurdity of these interludes doesn't mesh well with the overall sombre feel of the film, in my opinion.

I'm well aware of the controversy around the film. I'd like to think that there were (some) good intentions behind it, but when so many people from the community you want to 'include' are telling you you're doing it wrong, perhaps take a step back and rethink? I honestly had my hands over my face at some points when I found Ziegler's performance impossible to watch. I wonder how she will look back on this in 10 years' time?

Hudson's character says she 'just keeps messing up and messing up and messing up'. That just about sums this whole film: mistakes on mistakes.
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The Glorias (2020)
7/10
Glorious!
5 October 2020
This film is an interesting take on a biopic, blending elements of realism with more fantastical sequences set in Gloria's imagination. With references to The Handmaid's Tale, Wizard of Oz and more, these metaphorical inserts may not be for everyone but I felt they enriched the story. It features stellar performances from Julianne Moore and Alicia Vikander, with appearances from Janelle Monae and Bette Middler. I almost didn't watch this because I saw what a low score it had, and yet it seems this is perhaps to do with political leanings. Regardless of where your political views lie, this is an interesting look at an influential woman, and a beautifully made, entertaining film with a brilliant cast. The appearance of Gloria Steinem herself at the end was a particularly moving way to complete this intimate look at her life.
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Antebellum (2020)
5/10
Good Film, Not Ground-Breaking.
27 September 2020
Reading other reviews, I'd first like to note that a film having a political leaning should not be a reason for a negative review. Acting/drama itself has many political roots (think Bertolt Brecht, Shakespeare, even ancient Greek plays) and is designed to engage an audience critically. However, the messy plot is a more than valid reason for a negative review, as is the lack of decent characterisation. It is not what I expected, having been described as a horror, and as others have mentioned, 'Get Out' is a much better movie if that is what you are looking for. Despite what some may say, I thought the acting was good, and the cinematography was also adept at depicting the American south and brutal conditions of slavery. Janelle Monáe brought her character and the horrors of the life of an enslaved individual to the screen, but I felt the script let her down and did not build the required sympathy between her and the audience. All in all, this is worth a watch, but not a memorable or ground-breaking production.
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9/10
Best amazon series I've seen so far!
23 May 2020
Warning: Spoilers
First of all, I enjoyed this for the intertwining storylines, which were portrayed with depth and sensitivity. Most importantly, though, it was the overarching meanings of moral ambiguity and the capacity to balance multiple perspectives within a single narrative.

This series is set in Shaker Heights, a community which has been in the news plenty of times for its racial integration policies, a theme which runs throughout the series. In an era of media scrutiny of such issues, in my opinion it is rare to come across a production such as this which doesn't take a strong moral stance, but exists in the grey areas - as life itself does.

There is also attention paid to the intersection at which where race-related issues and feminism meet; the sub-plot of Lexie (Jade Pettyjohn) ripping off the negative, racially-motivated experience Pearl (Lexi Underwood) has in trying to access AP classes. Lexie is called out on this by her boyfriend (Stevonte Hart) who forces her to confront the manner in which she has appropriated Pearl's hardship, and turned it into her own issue with the label of sexism. Part of the issue is that Lexie has never had her own hardship to write about; she has been sheltered and protected by her mother (Reese Witherspoon). This lack of hardship is turned on its head when she makes the difficult decision to have an abortion. I felt this was adept in depicting a struggle which transcends class, race and age (although it can of course be influenced by all those things) and the theme of motherhood, both desperately wanted and fearfully rejected. Showing motherhood from a variety of perspectives and examining the mother/daughter bond may not be ground-breaking, but here it was done with care and excellent attention to detail.

I thought the acting was superb on all fronts - much has been made of Kerry Washington's extreme facial reactions, but I felt it added to her character. As the gifted protegee of a lecturer, we see her in the present day as a struggling single mother, icy and reserved in the face of Reece Witherspoon's condescending blunders, but passionate when in the courtroom defending her friend.

This may be one of the best series I've watched in a while, hence the very high score, and it's nice to see a book translate so well into film.
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The Goldfinch (2019)
4/10
The Goldfinch is a masterpiece... which sadly doesn't translate well into film.
18 May 2020
Donna Tartt's Goldfinch has sat on my bookshelf for a number of years, and I have even been known to call it one of my favourites. When I heard there was a film coming out, I was initially excited, then remembered the demise of similar beloved novels (The Time Traveller's Wife, Audrey Niffenegger; Gone Girl, Gillian Flynn) into abridged motion picture.

That aside, I think if I watched this film without prior knowledge of the book, I would have found it fairly dull and unremarkable. The Russian accent attempted by both actors playing Boris (Finn Wolfhard and Aneurin Barnard) lent an unfortunate bathos to moments which were intended to pull at the heartstrings of the audience. The characters lack depth; the deaths seem sudden, and without any real attachment to the characters, it had little emotional impact. Whilst I can't fault Sarah Paulson's acting, I feel she was miscast for Xandra - Paulson seems a little too sophisticated here for a bar owner/gambling addict/druggie.

As has been mentioned in previous reviews, the structure of the film is confusing. It jumps around the timeline of Theo's life, perhaps with the intention of cutting out some of the longer elements of the story which the writers chose not to include. All in all, I finished the movie feeling deeply unsatisfied and a little sad - perhaps it's time to go back to reading again.
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4/10
If you want a movie with no nice characters, look no further.
14 April 2020
Ah, humans. Complicated creatures with depth. I feel like this is what the director was attempting to portray, in this depiction of the close friendship between Ginny (Katherine Waterston) and Catherine (Elisabeth Moss) which has begun to disintegrate. I can't fault the cinematography, but that's where my praise for this movie ends. I found it difficult to empathise with any of the characters, with the dialogue falling flat and mostly consisting of the type of petty bickering which films seem to enjoy examining in female friendships.

Moss' performance of a mental breakdown in this film is reminiscent of the character she portrays in 'Her Smell' (2018), but here, the dialogue lets her down. Particularly, a scene in which she berates Ginny's love interest for treating her badly comes across as contrived and pretentious, especially after the audience watches Catherine treat Ginny poorly.

The camerawork does a good job of creating an oppressive summer atmosphere, but ultimately the film in its entirety just reminded me of those hot, boring, summer days in childhood: I couldn't wait to see the end of it.
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Resistance (2020)
7/10
An Important Reminder
14 April 2020
Was this the most brilliant film I've ever seen? No. Was it a well-told adaptation of a true story that deserves to be remembered? I think that sums it up pretty well.

Jesse Eisenberg delivers a decent performance if you can look past the shoddy French accent, but Clémence Poésy and Matthias Schweighöfer are the true stars here, with the nazi brutality of the latter made all the more shocking when contrasted with the concern he shows towards his own child.

A few reviews comment on the 'formulaic' nature of this film - whilst from an entertainment perspective this might be a valid critique, I personally believe it is vital that these stories are told and retold, and highlighting the bravery of an individual is a valuable way to do so.
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