I am starting to get used to a world where due to the number of streaming services, I have no idea what is coming out, when and whether movies even get theatrical release anymore. This film is a prime example, as I had not heard about it until my girlfriend said she would like to watch it. I thought it looked good, so we went for it, and that was the last time the word “good” would be in the same sentence as the title of this film. Good Luck to You, Leo Grande is a minimalistic film that feels larger than it is. It is a film that talks openly about many things people are still nervous discussing (sex, pleasure at older age, sex work) and most importantly, it has two outstanding performers at its core.

It feels almost reductive to write Emma Thompson is a national treasure, but in this movie, she bares it all, both acting-wise and in the literal sense too. But the film goes about it in such a delicate and non-judgemental way the moment it happens; you understand why it had to be there. It doesn’t feel awkward, cheap or out of place. Emma has had many outstanding roles and won two Oscars (one for leading actress and one for adapted screenplay, both for Sense and Sensibility (1995)), but this role feels like she is loudly announcing: “Hey, I am not done yet!” Quite honestly, her performance in this film must be in her TOP 3 because it requires so much from her it must have been challenging. But as an actor, she could rely on an amazing script and her partner-in-crime, Daryl McCormack.

I was not familiar with him whatsoever, but goddamn, this guy can act. These intimate films built around two people only work if both performers complement each other, and somehow, Emma and Daryl found that connection and carried this film together. Good Luck to You, Leo Grande is that kind of “push and pull” movie, where one of our main heroes is always “king of the mountain”. There is an apparent power dynamic, but if you think for a second that dynamic will not shift throughout the film, you are mistaken. The movie switches genres and goes from light-hearted to darker places fast, but it never feels weird. Every scene and every turn in this film felt natural, and at times I forgot I was watching a movie and was just watching two very different people react.

If we put these two outstanding performances aside for a moment, you will notice how this film is told and shot meticulously. There is something about having women making films about these topics/themes, as the screenplay by Katy Brand feels so direct yet sure of itself. What I mean is the script talks about a variety of different, complex things, but I don’t think it ever gives you “one correct answer” to anything. Yes, this film is about empowerment and letting go of shame around sex/sex workers, but it never “fetishizes” the topic; it never skews one way because that’d be dishonest. No matter where you stand on this issue, if you say something like: “Well, this is easy, the solution is…”, you have already lost me. But not this film; Katy’s script navigates this minefield and makes it to the other side undamaged.

Now it’s the time to talk about the other woman behind the camera, the director Sophie Hyde. What I loved about her directing were two things – she made this intimate film feel larger than it was, and she shot the sex scenes realistically. Let me explain – these “small”, intimate films shot in (mostly) one room with a limited number of actors can sometimes feel stale, given the apparent limitation. After all, how many ways can you shoot one room? But Sophie cracked it; the film never felt trite or boring as she understood the assignment. It would be easy to get distracted and try to have some scenes with “cool-looking shots”. But this film stays true to what it sets out to do; it’s a quiet, powerful film about the world’s oldest profession, but with a dialogue from today, with a “fresh mindset”. You won’t find many clichés here; no matter where you stand on the “legalise sex work” debate, there is a nuanced “debate” happening in this film.

And this is where I need to go back to the beginning of my review. Because for a film I didn’t know existed until my girlfriend told me she wanted to watch it, Good Luck to You, Leo Grande surprised me, entertained me, made me think and, most importantly, it showcased two stellar performers. In one performance, we knew what the actress was capable of (and she still managed to surprise me), and in the other, I hope this performance will help Daryl to break through to more mainstream films/series. And both Emma and Daryl made this film work.

Overall, Good Luck to You, Leo Grande, is a mature film that knows what it wants to say. It never pretends to be something it’s not; it is an honest piece of cinema that feels big in its minimalism. For the better part of the film, we only see Emma and Daryl, but you will never get bored, despite seeing only those two interact for the majority of the runtime. I also wouldn’t be shy to write this must be one of the best performances of Emma’s career, and given her talent and longevity, that is saying something. If you are looking for something more adult-oriented without any sleaziness attached to it, something with comedic elements but also something with “a soul”, look no further. Good Luck to You, Leo Grande should not disappoint you.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

I know I am beginning to sound like a broken record, but 2022 was a great year for movies. And this “late” addition (in the US, it premiered in September and in the UK in November) only underlines my previous statement with a bold pen. The most extraordinary thing about Aftersun is that if you were to describe it to somebody, it would probably sound like the most boring movie of all time. And it is anything but that.

Let’s have an exercise, shall we? Imagine if somebody tries to pitch you a film, saying: “It’s handheld footage of somebody’s holiday in Turkey. But nobody gets kidnapped; it’s a very simple story about a dad and his daughter.” You would (quite rightly) say: “Wait, that’s it?” And effectively, yes, that is it. Aftersun is as raw of a movie as they come, but because of its rawness, it hits you hard in certain moments. This film is one of those movies that will make you feel a certain way, and you may not even realise why you are feeling like it. You may not fully understand what happens at the end (because it is left to your interpretation on purpose), and the final scene will still hit you hard. You will also not be able to hear the song “Under Pressure” by Queen ft. David Bowie without thinking about Aftersun. That is how powerful this “little movie that could” is.

You might ask: “Hey, why are you calling this little movie?” Well, the budget was (probably) so minuscule I can’t even find an estimated one; the whole film is effectively about two people, the rest are “glorified extras”, and because of its premise, it’s shot in a very “amateurish” manner. That might sound like I am criticising the film, but no, far from it. It takes balls to take (what I can presume was) a little amount of money and for someone to have a clear idea of the story you want to tell and tell it in this beautifully raw, emotional way. Also, I have seen too many movies to know that the “amateurish” nature was far from it; the shots always served the story and never felt random. It takes a lot of talent to make something look amateurish, and Charlotte Wells nailed it. Aftersun is not only her feature debut as a director but also as a writer. And holy fuck, she nailed it out of the park.

The main reason this film resonated with me so much was how genuine it felt at every moment. There was a real “dad/daughter” chemistry between Paul Mescal and Frankie Corio (more about them soon), so you already won half of the battle. The rest was the story and whether it delivers everything you, as a director/writer, want it to deliver. And holy shit did it ever. I loved how Aftersun played around with the idea of memory and how fragile and unreliable it can be. Without spoiling anything, there are scenes where you think to yourself: “What is happening?” And as the film slowly peels every layer it has to offer, that is the moment you have to actively go back and replay some of those moments back and think about what you saw. It’s not a spoiler to say most of this film takes place in the past as Sophie (the daughter) reflects on/remembers this specific holiday she had with her dad.

And this is why Aftersun went full-on genius for me. You never get any hints as to why. Why does she go back to this holiday? Did anything meaningful happen before or after it? Was this their last holiday? Is her dad still alive? If he is, does that mean they had a falling out? If he isn’t, what happened? And the more you dive into the hints, you can make any theory you wish. There are no straight answers; everything is left up to you, so you can interpret it any way you see fit. You might have seen me, in the past, critiquing this very thing, not giving your audience enough to grasp. But no, you won’t hear me complaining about it here because there is a difference. Aftersun isn’t interested in “what”; it wants you to stop and think about “why”? You can almost imprint any of the past experiences you might have had with somebody in your past, and it would have worked because that is the purpose of this film. In its complexity, it’s relatable. And not “annoyingly relatable”, like that one person we all know who wants to relate to anything and anybody and fails. We all have had some relationships fall apart, whether it was family, friends or partners, and this movie acts almost as a catalyst for you. And I would argue it should also showcase to you that no matter how great you think your memory is, it can’t be trusted that much.

Let’s talk about the main stars, Paul and Frankie. As I have alluded to, they had the chemistry needed for you to believe these two were father and daughter. But on its own, that would still not be enough to carry this film, so they had to bring their A-game. And they both had. I wouldn’t be surprised if Charlotte Wells told them their backstory and “future”, gave them the arc we didn’t get as they both perform every scene with honesty, and never once you question why they are acting the way they are. I will give you a specific example of why I think Paul managed to get that Oscar nomination – his character is very complex. Think about it; he needs to play this cool, relatable young-ish dad who wants to be best friend with his daughter. But on the other hand, his character had other scenes throughout the film where you get the feeling something is seriously wrong with him, and part of the reason may be him being too young to be a dad. He is still “not ready” and has that level of responsibility. It’s an incredibly layered performance; I am not giving him enough justice by describing it, so I will write that there were many great performances in 2022; and Paul belongs in that conversation for “best of the year”. I can’t wait to see them both in more films/shows.

Overall, Aftersun is a film I could write thousands of words about, and yet; I could never do it justice. It is so unique, relatable and gut-punching that you may feel several complex emotions towards the end. But it is worth it. It is insane that we still have amazing artists who don’t need big budgets, CGI or, honestly, even big-name stars to make a powerful movie, and I am here for these films. I would be shocked if both Paul and Frankie didn’t become big-name stars because of this movie, and I wish them all success. And I am already anticipating the next film by Charlotte Wells. What a strong debut, what a fascinating movie, and what a holiday. Also, as sung by David Bowie at the end, “give love, give love, give love…” I swear; every time from now on, this song will hit me hard.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

If it ain’t broke, don’t fix it, says the old proverb. So when Martin McDonagh heard it, he said: “Alright then”, and called his best mates Colin Farrell and Brendan Gleeson, the same duo that worked for him so well in his feature debut, In Bruges (2008). But this time around, they managed to create something that is the opposite of In Bruges. You see, In Bruges is a comedy first and drama second. The film is so good at combining these elements so elegantly that you will laugh, and then the dramatic bits hit you even harder. And this is where The Banshees of Inisherin comes in and flips it around; it’s a drama first with some funny moments. And it’s beautiful to watch.

One thing I loved about The Banshees of Inisherin is how complex this film is. Many dramas can be about “one big thing/theme”, but McDonagh likes challenging himself, so he came up with a simple storyline with incredibly complex themes that says a lot if you care enough to dig deeper. But here’s the kicker, you don’t have to. The magic of this film is it can be enjoyed on the most “primal” level, and you will still have a good enough time with all the performances, the story, the beautiful cinematography and the score without you having to go deeper.

It is the simplicity of the “main” story (what if your best friend suddenly stops talking to you) that allows this film to explore deeper themes, not only about friendships, but people, complacency, legacy, or what makes you a good person. All these themes are explored in this film, and they all get explored so effortlessly, at times, I thought to myself: “That’s not fair.” being as talented as McDonagh and firing on all cylinders, he makes it look that easy.

One thing I admire about this film is that there is no obvious “lead” actor. Sure, for the Academy Awards, it was decided that Colin Farrell was “the lead” actor and Brendan Gleeson was “the supporting one”. But honestly, watching the film, I wouldn’t blame you if you thought it was the other way around. I guess, technically, Farrell has a bit more screen time, but The Banshees of Inisherin is one of those rare films that have no apparent leading actor, and it’s all the better for it. What it has are four acting pillars the film stands on. The two actors I mentioned already, but we need to talk about Kerry Condon and Barry Keoghan as both were amazing too. Come to think of it, the dynamic Colin and Brendan have in this film, Kerry and Barry had their own dynamic ongoing.

It is only now, thinking back about everything I realise that the reason Kerry and Barry’s characters worked so well together is they are polar opposites. Kerry’s character is strong, clever, ambitious and willing to do anything, even if she may be afraid. Barry’s character is meek, with little to no ambition, and he isn’t “as bright”, to put it mildly. But the main difference is where their characters end up. Without spoiling too much, I will say one sees where they could end up, so they try to change it, possibly escaping their situation. The other, not so much. On a related note, there were many memorable scenes from many more unforgettable films last year (2022), but the “proposal” scene must rank high on everyone’s list. That was a masterclass on how to take a beautifully written scene, and perform it with the honesty, heart and charm it deserves. In any other film, Barry’s character would have been the funny “village idiot”. In this one, McDonagh gave him some character, and he delivered.

Do I even have to mention how outstanding Colin and Brenda were? We have known both to be reliably excellent actors; however, it seems both have pushed themselves even further in this film. All performances in this film are more nuanced; I don’t remember one scene that would be your stereotypical “I shout my lines, give me my Oscar now!”. The Banshees of Inisherin is a big film in scope, the cinematography looks amazing, and the score is stunning, but all performances feel earnest, raw and solemn. You don’t see this every year, that four people would get nominated across three different acting categories for the same film, and it happened here. And it is so deserved.

One thing I would “warn” everybody about before watching this film – please accept it on its own terms. Given the hype, Oscar nominations and overwhelmingly positive reviews, many viewers may go into this film expecting one type of drama and getting this quiet, deliberately-paced Irish drama with some humour instead. Even in my experience, after everything I’ve heard about it, I was still surprised and had to sit on this film for a bit to get my thoughts straight. But I believe this is one of those heartfelt films that will only get better on repeat viewings. Sure, it might seem the same as the climate of this film, cold and harsh. But look slightly deeper underneath, and you will see how much it has to say about many things with sincerity and honesty that is rarely seen.

Overall, The Banshees of Inisherin is a film that will sneak up on you. When I say I had to think about all the different stuff this film was talking about, I am not joking. But it is so worth it. This film continues McDonagh’s impressive streak of excellent movies, and I can’t see him missing any time soon. And if you add four outstanding performances and beautiful cinematography alongside a great score on top of this movie, it surely deserves the praise it’s been getting. In any other year, at least two of these four performers would be the frontrunners for the Oscars. And for my money, it doesn’t matter which two, that’s how strong they all were. I can’t wait to rewatch it.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

When I went to see Halloween Ends (2022, my review here), a trailer for this film played before it. And based on that one trailer, I knew almost exactly what I would get from this film; at least, that’s what I thought. And sure enough, I was correct, to an extent. But where The Menu surprised me was how critically it examines art and art consumption, but it does it both ways, pointing the finger not just at us, the consumers, but also the creators.

This film starts like your stereotypical “there is something wrong about this entire thing” flick. We get introduced to our key players, trap them on a remote island and watch the drama unfold. From the trailer (that had to give away a bit more than necessary to get audiences into the cinema), you could presume some form of cannibalism may or may not be involved, and it might be the main “draw” of the film. But again, The Menu surprises you by saying a lot more about how we consume art and how that leads to artists comprising their process just to please us. In a very bizarre way, it reminded me of Funny Games (1997) as you are watching an unconventional movie and you are trying hard to understand why the things that are happening on the screen are happening, only for one of the main characters in Funny Games decides to speak to us, the audience, directly. And that sends chills down your spine.

This film isn’t as “chilling” as Funny Games, though it operates under a similar premise. The obvious message is that when you start doing anything as a passion project, and it turns into your livelihood, it can break you because it is no longer fun, as it becomes your job. And especially a prestigious chef, whose food gets criticized by every Tom, Dick and Harry who has an Instagram profile, must get a lot of that, as he almost has a target on his back. But here is where the film surprised me and “fired back” onto the artists too, and The Menu also becomes about how what you do, your art, does not have to define you, especially the criticism of your art/work.

Another thing this film has going for it is the “eat the rich” theme. There is this class divide between most of the guests, who are mostly wealthy elites, coming from many different backgrounds (from a used-to-be actor to some tech bros), and then we have Anya Taylor-Joy. You can tell she doesn’t “fit in”, not just because it’s mentioned early in the movie she wasn’t supposed to be there. But there is another layer to her character I won’t spoil, and she may be the only one you end up routing for almost by default. Speaking of Anya, yet again, she understood the assignment, and her performance is subtle, but her presence is all over this film.

I also liked Hong Chau and Nicholas Hoult. I admired how Hong never broke her character and was this stoic, almost like a guard, just hovering over the hostages, I mean guests. I also liked Nicholas Hoult because if you don’t recognise part of yourself in his character, you are lying. He is the perfect over-the-top version of somebody who means well (or might have started with good intentions), but his passion for this one thing (in his case, it is food) is actively ruining it for people around him; and making him sound dickish. I thought his performance was delightful, albeit too painful to watch at times because, as someone obsessed with films, there were aspects of his behaviour I (and presume many other cinephiles) recognised. But the main star (alongside Anya) was Ralph Fiennes. It is a shame that the 2023 Oscar Best Actor category is stacked as he deserved to get some recognition for this portrayal of someone who excels, and yet, due to complex issues, he isn’t happy. Therefore, that contrast between her and Anya’s character, especially in “that one scene” towards the end, makes the movie work.

This film is one of the rare ones I wasn’t sure how to rate when it finished. I am usually a decisive person regarding ratings, so believe me when I tell you this isn’t common at all for me. But the more I thought about the different layers of this film, the more I realised this would get better and better upon rewatch as I would find more things to enjoy; I couldn’t go any lower. Plus, we have two perfect leading performances and many near-excellent supporting ones. I honestly believe The Menu will reward you if you accept the film on its own terms and just let it guide you.

Overall, The Menu surprised me with how complex it was. Even in this review, I find it hard to describe it well enough to do it justice because I have only seen it once. But unlike many films, this one needs to be watched multiple times, not because it’s confusing. No, if you get into this film with an open mind and ready for anything, you will want to go back to see what themes you might have missed out on because you were focused on the main crux of the story the first time around. I think this will age finer than some prestigious wine, and when people in 10/20 years talk about the year 2022 in films, The Menu will be one of the films they will recognise as one of those movies that made the year 2022 so outstanding.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke