NZIFF Film Review: "Are You There God? It's Me, Margaret" (2023).

"Discovering who you are is a journey that lasts a lifetime." This is Are You There God? It's Me, Margaret. This coming-of-age comedy-drama film adapted and directed by Kelly Fremon Craig, and based on the 1970 novel of the same title by Judy Blume. Eleven-year-old Margaret is uprooted from her life in New York City for the suburbs of New Jersey, going through the messy and tumultuous throes of puberty with new friends in a new school. She relies on her mother, Barbara, who is also struggling to adjust to life outside the big city, and her adoring grandmother, Sylvia, who isn’t happy they moved away and likes to remind them every chance she gets.

First published in 1970, the novel is considered a children's classic. It has never been out of print since its initial publication. In 2010, Time Magazine put it on a list of the 100 best novels published since 1923, and in 2012 it made Scholastic Parent & Child Magazine's list of 100 Greatest Books for Kids. However, starting almost from its first publication, it has long also been one of the most challenged and banned books in America: parents, administrators, and politicians have often tried to get the book removed from school libraries and reading lists both because of its honest examination of puberty and menstruation and because it depicts a girl who is given the freedom to decide for herself what religion she is interested in adhering to. However, Blume received several offers to adapt her book in the forty-nine years since its publication. Blume rejected them all but ultimately sold the film rights to producer James L. Brooks and Craig, who worked together on The Edge of Seventeen (2016), with Craig hired to pen and direct the adaptation. By early April 2021, Abby Ryder Fortson was cast in the title role with Rachel McAdams, Kathy Bates, and Benny Safdie rounding out the films' cast. At the same time, principal photography commenced and wrapped in late June. Filing took place in Charlotte and Concord, North Carolina.

The film stars Fortson, McAdams, Bates, and Safdie. Fortson portrays Margaret in such a way that you can't help but relate to her insecurities. Dry and witty supporting turns from McAdams, Bates, and Safdie are the cherries on top of the cake for this surprising gem of a film.

The film from writer-director Kelly Fremon Craig is a welcomed antithesis to the conventional norm. It’s a clear-eyed movie that looks at teen anxiety without an ounce of glamour and with a refreshing bite to it. This a period piece and a universally relatable story of a girl who doesn't fit in to begin with falling out with her only real friend and going into a tailspin. The film manages to artfully dodge any staleness by virtue of a great script and the universally excellent performances all round. The film checks all the teen movie boxes, but does so in a fashion that feels fresh and engaging in a way that we haven't seen since the heyday of John Hughes.

Simon says Are You There God? It's Me, Margaret receives:

Also, see my reviews for The Edge of Seventeen and The Innocents.

NZIFF Classic Film Review: "The Innocents" (1961).

"Do They Ever Return to Possess the Living?" This is The Innocents. This British gothic psychological horror film directed by Jack Clayton, adapted by William Archibald and Truman Capote, and based on Archibald's 1950 stage play of the same title and the 1898 novella The Turn of the Screw by Henry James. The plot follows a governess who watches over two children and comes to fear that their large estate is haunted by ghosts and that the children are being possessed.

In both his stage and screen adaptations, Archibald wrote under the assumption that the supernatural experiences of Miss Giddens were real, and that the ghosts she encountered were legitimate entities as opposed to figments of her imagination (a possibility left unresolved in James's original work). However, Clayton envisioned a more ambiguous conclusion for the film. Clayton was ultimately unhappy with Archibald's screenplay due to their conflicting interpretations of the material, and asked Capote (whom he had met while working on Beat the Devil) to rework Archibald's script. At the time, Capote was in the middle of writing In Cold Blood; however, because he was a fan of the James novella, he agreed, and took a three-week hiatus to rewrite the screenplay. Capote introduced the Freudian symbolism that is prominently highlighted in the relationships and visual compositions of the film, with implications that the supernatural phenomena experienced by Miss Giddens are a result of her own sexual repression and paranoias rather than legitimate paranormal experiences. Clayton later brought in writer John Mortimer to give the dialogue a "Victorian" polish. Clayton intended to maintain a sense of claustrophobia and, at the same time, open up the play, which took place entirely in the drawing room of the house. Clayton saw the house as one of the characters in the film and used it as such to highlight certain scenes. Harold Pinter also worked on the screenplay. Pinter advised Clayton that he should not use flashbacks. Deborah Kerr was cast in the lead role of Miss Giddens at the counsel of the film's studio and distributor, 20th Century Fox, despite the fact that the governess character in James's original work was twenty years old (Kerr was forty at the time). Kerr was said to have regarded this as her finest performance. Clayton cast Pamela Franklin (in her film debut) as Flora, and Martin Stephens as her brother, Miles. Clytie Jessop was cast as the spectral Miss Jessel (also in her film debut), and Peter Wyngarde was cast in the role of Quint. Alec Guinness and Cary Grant had expressed a strong interest in playing the role of Quint. However, Clayton turned them down. 

Principal photography took place primarily at Shepperton Studios in Surrey. Interior sequences were shot on sound stages, as well as the sequences which took place in the greenhouse veranda; a façade for Bly house was also built by the art department on the studio lot. On-location exterior scenes were shot at the Gothic mansion of Sheffield Park in East Sussex. Clayton wanted the film to be quite different from the Hammer horror films of the period, and employed a number of cinematic devices to achieve this end, including using eerie sound effects and moody, stylised lighting. Clayton didn't want the children to be exposed to the darker themes of the story, so they never saw the screenplay in its entirety. The children were given their pages the day before they were to be filmed. 20th Century Fox insisted that the film be shot in CinemaScope, while Clayton wanted to shoot it in standard academy ratio, feeling that he would be unable to make use of the additional space on both sides of the frame. Cinematographer Freddie Francis insisted that he could work with the CinemaScope aspect ratio, having shot Sons and Lovers (1960) for director Jack Cardiff in the format. He used colour filters and used the lighting rig to create darkness consuming everything at the edge of the frame. As the shoot progressed, Clayton found uses for the edges of the screen and began composing for the CinemaScope format. Francis used deep focus and narrowly aimed the lighting towards the centre of the screen. To create such sharp visuals, Francis used lots of huge bright lamps. Kerr sometimes had to resort to wearing sunglasses between takes. He also had candles custom made with four or five wicks entwined to produce more light. Francis and Clayton framed the film in an unusually bold style, with characters prominent at the edge of the frame and their faces at the centre in profile in some sequences, which, again, created both a sense of intimacy and unease, based on the lack of balance in the image. For many of the interior night scenes, Francis painted the sides of the lenses with black paint to allow for a more intense, "elegiac" focus. During principal photography, Clayton and editor Jim Clark would meet each evening and view the footage shot that day, assembling daily rough cuts as they progressed; this allowed Clayton to make adjustments and shoot pick-ups along the way, giving him closer supervision during the filming process. Inspired by George Stevens' A Place in the Sun, Clark crafted numerous dissolves and superimpositions, which he also described as "mini montages", in which he edited the cross-fades between certain scenes to run four or five times longer than the standard "mix", and often blended in a third, near-subliminal image. Clayton maintained close supervision over the editing of the film, specifically making sure that no single scene ran too long; because of the film's small cast.

For the possible misuse of the opening internal monologue and Kerr's overwrought but riveting performance, the film still stands up as a relevant and effective study of both the psychology and parapsychology of its themes.

Dripping with perverse subtext, this 1961 adaptation of James’ 1898 novella is a master class in reading between the lines (or the images). The film endures as a horror classic, albeit one that doesnt quite the credit it deserves as an unusual sexual repression story. Heres a movie both scary and perverse as Hell.

Simon says The Innocents receives:

Also, see my NZIFF review for Anselm 3D.

NZIFF Film Review: "Anselm 3D" (2023).

"Anselm Kiefer in a film by Wim Wenders." This is Anselm 3D. This German documentary film directed by Wim Wenders. This unique cinematic experience dives deep into an artist’s work and reveals his life path, inspiration, and creative process. It explores his fascination with myth and history. Past and present are interwoven to diffuse the line between film and painting, allowing the audience to be completely immersed in the remarkable world of one of the greatest contemporary artists, Anselm Kiefer. Wim Wenders shot this unique portrait over the course of two years in stunning 3D.

Born on March 8, 1945, German painter and sculptor, Anselm Kiefer, was born. At the end of the 1960s, he studied with Peter Dreher and Horst Antes. His works incorporate materials such as straw, ash, clay, lead, and shellac. The poems of Paul Celan have played a role in developing Kiefer's themes of German history and the horrors of the Holocaust, as have the spiritual concepts of Kabbalah. In his entire body of work, Kiefer argues with the past and addresses taboo and controversial issues from recent history. Themes from Nazi rule are particularly reflected in his work; for instance, the painting Margarethe (oil and straw on canvas) was inspired by Celan's well-known poem "Todesfuge" ("Death Fugue"). His works are characterised by an unflinching willingness to confront his culture's dark past, and unrealised potential, in works that are often done on a large, confrontational scale well suited to the subjects. It is also characteristic of his work to find signatures and names of people of historical importance, legendary figures or historical places. All of these are encoded sigils through which Kiefer seeks to process the past; this has resulted in his work being linked with the movements New Symbolism and Neo–Expressionism. Since 1992, Kiefer has lived and worked in France. Since 2008, he has lived and worked primarily in Paris. In 2018, he was awarded Austrian citizenship.

Instead of being handed facts that could be more readily imparted by a literary biography, we are immersed in Kiefer's startling art works and invited to examine his philosophy and work methods. Flawed as the film may be, it is still a celebration of the art through the spiritual presence of Kiefer, one of the great artists of the twentieth century. The film is a celebration of what it is to inspire greatness, a passionate work of life, love and inspiration that transcends its central figure to become something as timeless, and as hopeful, as the innovative and remarkable man who inspired it. A remarkable -- and likely enduring -- tribute to an artist committed to creating art drawn from humanity's deepest physical and emotional reserves. Bring someone who doubts that movies can surprise us anymore. Bring somebody who isn't yet excited about stereoscopic cinema. They'll change their minds. The 3-D is so subtle, unobtrusive and low-key that at times I felt like I was watching the movie through a View-Master rather than the requisite plastic glasses. That's not meant as a knock.

Simon says Anselm 3D receives:

Also, see my reviews for Perfect Days and My Name is Alfred Hitchcock.

Film Review: "Paradise" (2023)

"Eternal youth has a price" in Paradise. This German science-fiction action thriller film directed by Boris Kunz, and written by Kunz, Simon Amberger, and Peter Kocyla. Trade your life for money: In the not-too-distant future, a method of transferring years of your life from one person to another has changed the world forever and turned biotech start-up AEON into a billion-dollar pharmaceutical company.

The film stars Kostja Ullmann, Corinna Kirchhoff, Marlene Tanczik, Iris Berben, Lisa-Marie Koroll, Lorna Ishema, Numan Acar, Alina Levshin, Tom Böttcher, Gizem Emre, Lisa Loven Kongsli, Dalila Abdallah, Simon Amberger, Zemyna Asmontaite, Jan Beller, Alida Bohnen, Aleyna Cara, and Cynthia Cosima. Ullmann, Kirchhoff, and Tanczik are fantastic as the morally conflicted heroes, a fascinating combination of Hamlet and Benjamin Button; and the supporting cast, including Berben and Koroll is spot on.

The film falls a bit short of what it could have been but still manages to deliver a thrilling action movie. Perhaps it would have been more suspenseful had we invested in the characters. The story never manages to convince us that Max and Elena may be at times changing because of some residual sense of age, and it never defines the moment when Max decides to become a decent human being. The film gets an A for concept and a C for execution. By sacrificing character and believability for action, director Kunz dumbs down what could have been a compelling sci-fi flick. What do you do if you have a confounding philosophical idea, but you're not quite sure to handle it? You add guns to your story. Lots of guns. Not only does it effectively manage to walk the line between the two, it also manages to re-introduce the world to the talent and promise of the three leads. It manages to leaven a potentially leaden premise with a few gags that gently mock the absurdity yet never undermine it to a degree that it's anything less than enjoyable. It's not that I think Kunz's film is a decent one, it's that I don't think it's anything like the awful movie it's largely been painted as. Kunz is big on visuals but not much on storylines. But there are some provocative concepts about life, death, aging memory, identity, and, well, justice. Even when the film abandons its headier questions of identity and immortality so director Kunz can get to the next shootout or car chase, the actors keep it lively. Much more about the change that may come from walking a mile in someone else's shoes - and also feet - than it is about anxiety over death or the strange marriage of time and aging. An improbable, if thought-provoking mind-bender built on a house of cards that holds up only to the extent you're willing to go along with its preposterous premise. The movie has several surprising twists, and will tug gently at your heartstrings, a la Warren Beatty in the 1978 remake of Heaven Can Wait.

Simon says Paradise receives:

Film Review: "The Lady of Silence: The Mataviejitas Murders" ("La dama del silencio: El caso de la Mataviejitas") (2023).

From the director of Beauties of the Night (Bellas de Noche) comes The Lady of Silence: The Mataviejitas Murders (La dama del silencio: El caso de la Mataviejitas). This crime documentary film directed by María José Cuevas, and written by Miguel León. In early-2000s Mexico City, nearly fifty elderly women were strangled in their own homes in Mexico City, triggering the hunt for — and capture — of a most unlikely suspect.

On December 27, 1957, Mexican serial killer and former professional wrestler dubbed La Mataviejitas (The Little Old Lady Killer), Juana Dayanara Barraza Samperio, was born. Barraza's mother, Justa Samperio, was an alcoholic who reportedly exchanged her for three beers to a man who repeatedly raped her in his care, and by whom she became pregnant with a son. She had four children in total, although her eldest son died from injuries sustained in a mugging. Prior to her arrest, Barraza was a professional wrestler under the ring name of La Dama del Silencio (The Lady of Silence). She had a strong interest in lucha libre, a form of Mexican masked professional wrestling. On March 31, 2008, she was sentenced to seven-hundred and fifty-nine years in prison for the killing of sixteen elderly women. The first murder attributed to Mataviejitas has been dated variously to the late 1990s and to a specific killing on 17 November 2003. The authorities and the press have given various estimates as to the total number of the Mataviejitas victims, with estimates ranging from forty-two to forty-eight deaths. All of Barraza's victims were women aged sixty or over, many of whom lived alone. Barraza bludgeoned or strangled them before robbing them. After the arrest of Juana Barraza the case of the Mataviejitas was officially closed despite more than thirty unresolved cases. In the Spring of 2008, Barraza was tried, Mexico City prosecutors said fingerprint evidence linked Barraza to at least ten murders of the as many as forty murders attributed to the killer. The wrestler is said to have confessed to murdering Alfaro and three other women, but denied involvement in all other killings. She told the police her motive was lingering resentment regarding her own mother's treatment of her. On 31 March, she was found guilty on sixteen charges of murder and aggravated burglary, including eleven separate counts of murder. She was sentenced to seven-hundred and fifty-nine years in prison. Since sentences imposed in Mexican courts are generally served concurrently, but the maximum sentence under Mexican law is sixty years, she will most likely serve the full sentence in prison.

With an absorbing narrative and effective direction, the viewer is immersed in the horrors and intrigues behind the Lady of Silence's crimes. Criticizing its boilerplate approach doesn’t mean this isn’t a story worth telling – just that it could have been told better, with more concision and clarity, and less repetition. If you’re interested in true crime docuseries, you’ll probably find this one worth watching. It’s a grim recollection of one of Mexico’s darkest years.

Simon Says The Lady of Silence: The Mataviejitas Murders (La dama del silencio: El caso de la Mataviejitas) receives:

Film Review: "Missing: The Lucie Blackman Case" ("警視庁捜査一課 ルーシー・ブラックマン事件") (2023).

From the director of The Distance comes Missing: The Lucie Blackman Case (警視庁捜査一課 ルーシー・ブラックマン事件). This Japanese crime documentary film directed by Hyoe Yamamoto, and based on the book by Shoji Takao. July 1, 2000. British twenty-one-year-old Lucie Blackman goes missing in Tokyo, sparking an international investigation — and an unyielding quest for justice.

Born on 10 August 1952, Zainichi Korean serial rapist, Joji Obara (織原 城二) raped between one-hundred and fifty and four-hundred women. Born Kim Sung-jong (김성종), Obara's father worked his way from scrap collector to immensely wealthy owner of a string of properties and pachinko parlors. Obara was educated at private Tokyo schools, and received daily tutoring in a variety of subjects. At age fifteen, he enrolled in a prestigious prep school affiliated with Keio University, virtually guaranteeing his acceptance into the university. Two years later, after his father's death in Hong Kong, Obara inherited property in Osaka and Tokyo. After traveling extensively and graduating from Keio University with degrees in politics and law, he became a naturalized Japanese citizen and legally changed his name. Obara invested heavily in real estate speculation, gaining assets estimated as much as $38 million. After losing his fortune and his firm in the 1990s recession, he was pursued by creditors, and reportedly used his business as a money laundering front for the yakuza syndicate Sumiyoshi-kai. Obara was a drug user who was reported to have a fixation on white women. He developed a pattern of criminal behavior, beginning with unlawfully administering drugs to render his victims unconscious and abduct and rape them. Obara victimized women of both Japanese and Western backgrounds. He recorded his attacks on videotape, at least four-hundred of which were recovered by police, giving them cause to believe that he might have raped anywhere from one-hundred and fifty to four-hundred women. Police found extensive journals in which Obara made reference to "conquest play", a euphemism describing his sexual assaults on women whom he wrote were "only good for sex" and on whom he sought "revenge on the world" drugging them with chloroform. In addition, he was charged with drugging, raping and killing a British woman, Lucie Blackman, in October 2000, the rape and manslaughter of an Australian woman, Carita Ridgway, and the rape of eight other women. In 2007, Obara was jailed for life on multiple rape charges and manslaughter, but was acquitted of Blackman's rape and murder for lack of direct evidence. In December 2008, the Tokyo High Court found Obara guilty on the counts of abduction, dismemberment and disposal of Blackman's body. Blackman's death, as well as Obara's trial, received extensive press coverage internationally, especially in Britain.

With an evocative mix of dramatizations, archival footage and testimony from many who were involved in aspects of the case, the narrative reveals both monstrous crimes and an ineffective response.

Simon says Missing: The Lucie Blackman Case (警視庁捜査一課 ルーシー・ブラックマン事件) receives:

NZIFF Film Review: "My Name is Alfred Hitchcock" (2022).

"You certainly wanted us to look at faces - desire - didn't you?" This is My Name is Alfred Hitchcock. This documentary film written and directed by Mark Cousins. The film re-examines the vast filmography and legacy of one of the 20th century’s greatest filmmakers, Alfred Hitchcock, through a new lens: through the auteur’s own voice.

Born on August 13, 1899, English filmmaker, Sir Alfred Joseph Hitchcock, was born. He is widely regarded as one of the most influential figures in the history of cinema. In a career spanning six decades, he directed over fifty feature films, many of which are still widely watched and studied today. Known as the "Master of Suspense", he became as well known as any of his actors thanks to his many interviews, his cameo roles in most of his films, and his hosting and producing the television anthology Alfred Hitchcock Presents (1955–65). His films garnered forty-six Academy Award nominations, including six wins, although he never won the award for Best Director despite five nominations. Hitchcock initially trained as a technical clerk and copywriter before entering the film industry in 1919 as a title card designer. His directorial debut was the British-German silent film The Pleasure Garden (1925). His first successful film, The Lodger: A Story of the London Fog (1927), helped to shape the thriller genre, and Blackmail (1929) was the first British "talkie". His thrillers The 39 Steps (1935) and The Lady Vanishes (1938) are ranked among the greatest British films of the 20th century. By 1939, he had international recognition and producer David O. Selznick persuaded him to move to Hollywood. A string of successful films followed, including Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Shadow of a Doubt (1943), and Notorious (1946). Rebecca won the Academy Award for Best Picture, with Hitchcock nominated as Best Director. He also received Oscar nominations for Lifeboat (1944), Spellbound (1945), Rear Window (1954), and Psycho (1960). Hitchock's other notable films include Rope (1948), Strangers on a Train (1951), Dial M for Murder (1954), To Catch a Thief (1955), The Trouble with Harry (1955), Vertigo (1958), North by Northwest (1959), The Birds (1963) and Marnie (1964), all of which were also financially successful and are highly regarded by film historians. He received the BAFTA Fellowship in 1971, the AFI Life Achievement Award in 1979, and was knighted in December of that year, four months before his death on April 29, 1980.

For all that the film may come up short, for lovers of film, it is still wonderful to see these pieces of history that have not really been seen before. A very personal, first-person meditation on that late creator, particularly viewing his life and work through the lens of the voluminous body of work he left behind. The combination of Hitchcock's films and his colorful life make for a fascinating study of the influence on the man and his many creative skills. Certainly, it is a side to Hitchcock that I was previously unaware of, and I suspect many other viewers, too. That immediately gives it something of a leg up.

Simon says My Name is Alfred Hitchcock receives:

Also, see my review for Robot Dreams.

NZIFF Film Review: "Robot Dreams" (2023).

From the director of Blancanieves comes Robot Dreams. This Spanish-French animated tragicomedy film adapted and directed by Pablo Berger, and based on the comic of the same title by Sara Varon. Dog lives in Manhattan and he’s tired of being alone. One day he decides to build himself a robot, a companion. Their friendship blossoms, until they become inseparable, to the rhythm of 80’s NYC. One summer night, Dog, with great sadness, is forced to abandon Robot at the beach. Will they ever meet again?

By mid June 2021, Ivan Labanda, Esther Solans, Tito Trifol, José García Tos, Graciela Molina, Rafa Calvo, and José Mediavilla were cast in a Spanish-French animated tragicomedy film adaptation of Varon's comic of the same title to be directed by Berger. At the same time, the animation process began in Madrid, Spain and then moved to the Iruñea studios.

The film stars the voice talents of Labanda, Solans, Trifol, Tos, Molina, Calvo, and Mediavilla. The beauty of this adaptation of Varon's characters is its sheer simplicity and sincerity, partly thanks to the performances.

The film is a fun-filled and heartfelt animated feature that presents one of the best examples of how to turn a graphic novel into a film adaptation. The film is pure sweetness, with a visual motif that makes it feel like someone just finished sketching it in front of you. Their decision to use comic book techniques, in-keeping with the original illustrations, produces a warm and loving adaptation which appeals to the value of faithful cinematography. Watching this film is like reading the graphic novel. It's charming and beautiful with a touching and simple message. This is the absolute perfect film for a family outing. A curious blend of charm and tooth-obsessed strangeness, with a wholesome message about friendship that's somewhat tainted by the characters' Toy Story antics, but illustrated in a gentle style with wonderfully subtle-yet-vibrant music. A welcomed alternative to chaotic kid-centric blockbusters, channelling the spirit of humble animated greats My Neighbour Totoro and The Many Adventures of Winnie the Pooh. Encompassing the powerful elements of honesty, truth, and acceptance, Berger's screenplay, once again, fixates on the small details that bring our story full circle and unimaginably to life. Beautiful Spanish-French animated film; the storybook simplicity of the comic book animation has an allure and clarity that reinforces how new technology does not render traditional forms of animation inferior or obsolete. The film will bewitch children and grown-ups alike, a none-too-soon respite from the typically louder, busier animated features Hollywood tends to produce. Its simple themes of friendship and looking at someone more than skin-deep provide a strong backbone for a story that is entertaining and heartwarming at the same time, making this a rare animated treat that is more than just goofy fun. It glows with a childlike innocence but never grinds into the sticky-slapstick sentiment that marks so much of today's coldly calculated animated family offerings. The film's main message is that friendship knows no bounds and that once one sees behind preconceived notions, a new world of possibilities can bloom.

Simon says Robot Dreams receives:

Also, see my NZIFF review for Perfect Days.

NZIFF Film Review: "Perfect Days" (2023).

From the director of Paris, Texas and Pope Francis: A Man of His Word comes Perfect Days. This apanese-German film directed by Wim Wenders, from a script written by Wenders and Takuma Takasaki. Hirayama seems utterly content with his simple life as a cleaner of toilets in Tokyo. Outside of his very structured everyday routine he enjoys his passion for music and for books. And he loves trees and takes photos of them. A series of unexpected encounters gradually reveal more of his past. A deeply moving and poetic reflection on finding beauty in the everyday world around us.

The film stars Kōji Yakusho, Tokio Emoto, Arisa Nakano, Aoi Yamada, Yumi Asō, Sayuri Ishikawa, Tomokazu Miura, and Min Tanaka. What could have been insufferable turns into a beautifully rendered portrait of people who find beauty and art in every day life, thanks to the performances. Yakusho gives a very quiet and soft-spoken, but emotive performance as the main character.

Wenders' approach is minimalist yet subtly robust. His structure resembles stanzas of a poem, and they are filled with relaxed easygoing rhythms that sweep you through from start to finish. A lovely, original, naturalistically paced dreamscape, this is a film where a toilet cleaner observes the mundane yet beautiful moments of life. The film contains an effortless quality that rolls off the screen; the viewer settles into a steady and exquisite demonstration of the filmmaker's control over his craft and the depth of his artistry. This is a sweet celebration of life's small joys and its oddity, and Yakusho is mesmerizing as a toilet cleaner. Apparently Wenders intended Hirayama to be an antidote to the modern action film and it's truly a welcome respite. It's an experiment, to be sure, and while I would call the experiment a success I'm not sure the end goal was one worth pursuing. Call this a slight recommendation. A movie about small things, the film is all about finding the beauty in simplicity and the little ways we're all creative. Almost nothing major happens. But that's the entire point. What makes the film such a wonderfully coherent and satisfying film is its cinematic conceit: we are seeing the world as it is perceived by the protagonist. The film may end up being one of the definitive films of our time, a careful character study of a man who takes pride in his work, kinda like Wenders himself. Much of the film's charm lies in its bustling sense of community, one filled with a refreshing diversity and a sense of cordiality that's often lacking in the modern day. Wenders celebrates the ordinary because let's face it, most artists are struggling working class members of society who have to "fit" their passions into everyday life. The filmmaker's choices and the film's subject's choices are so carefully weighted and so perfectly chosen that the universe of the film is one of deep and lasting meaning, and the character of Hirayama is unforgettable as portrayed by Yakusho.

Simon says Perfect Days receives:

Also, see my reviews for Pope Francis: A Man of His Word and La Chimera.

NZIFF Film Review: "La Chimera" (2023).

From the director of The Wonders (Le meraviglie) comes La Chimera. This period romantic drama film directed by Alice Rohrwacher, and written by Rohrwacher, Carmela Covino and Marco Pettenello. Everyone has their own Chimera, something they try to achieve but never manage to find. For the band of tombaroli, thieves of ancient grave goods and archaeological wonders, the Chimera means redemption from work and the dream of easy wealth. For Arthur, the Chimera looks like the woman he lost, Beniamina. To find her, Arthur challenges the invisible, searches everywhere, goes inside the earth – in search of the door to the afterlife of which myths speak. In an adventurous journey between the living and the dead, between forests and cities, between celebrations and solitudes, the intertwined destinies of these characters unfold, all in search of the Chimera.

The film stars Josh O'Connor, Isabella Rossellini, and Alba Rohrwacher. The film manages to examine its entire cast of characters, male and female, in a loving but clear and pitiless light. Almost every moment feels real and unrehearsed because the characters' specific qualities work inward rather than outward. O'Connor is splendid in the lead and Rohrwacher's patient approach gives the viewer plenty of time to explore the landscapes through which we travel, inviting awkward questions about what it means to be free or to be saved.

Even though the ending, overwhelmed with too many allegories and religious symbolism, doesn't measure up to the rest of the film, the film ratifies this filmmaker as one of the most valuable in contemporary cinema. One always has the sense of being in the hands of a filmmaker who understands how to create a tangible world that is so interesting to explore, and the film accomplishes that with a confident hand that draws you further into its overall messages. Rohrwacher's film inventively examines how people react to redemption: how they exploit it, how they resent it, how they distrust it, and how that altruism somehow finds a way. The cast is great, and so is the always excellent Alba Rohrbacher. And the Hélène Louvart-lensed cinematography is gorgeous. But the real star is Alice Rohrwacher. This slow, but well-paced drama, unexpectedly unfolds as a slice of traditional folklore, sitting somewhere between classic Italian neorealism and fantastical storytelling. Revisit Plato's cave in a modern tale and how the culture define our social behavior, as Margaret Mead Said. A contemporary anthropological new cinema. A must. Aided by excellent, incantational sound-mixing and wonderful unforced performances, Rorhwacher creates a recognisable and authentic vision of Italy miles apart, yet equally as fantastical, as that in Call Me By Your Name. A great-looking film that dares to give a familiar period romantic drama an ultrarealistic spin. It's a blessed feeling to be in the hands of such remarkable storytellers. The film is a memorable and compelling experience that manages to blend fantasy and reality in a way that is both beautiful, satirical and enlightening all at once. Highly recommended.

Simon says La Chimera receives:

Also, see my reviews for The Wonders (Le meraviglie) and Munekata Sisters (宗方姉妹).

NZIFF Classic Film Review: "The Munekata Sisters" ("宗方姉妹") (1950).

From the director of Late Spring (晩春) and Tokyo Story (東京物語) comes The Munekata Sisters (宗方姉妹). This drama film directed by Yasujirō Ozu, adapted by Ozu and Kōgo Noda, and based on the novel of the same title by Jirō Osaragi. Setsuko is unhappily married to Mimura, an engineer with no job and a drinking habit. She's always been in love with Hiroshi, but he left for France years ago without proposing. Now he is back and Mariko (Setsuko's sister) tries to reunite them, although secretly she loves him too.

This is the only Ozu film based on a novel. It was a common practice in Japanese cinema at the time to adapt such novels for the screen. The director later recalled that he found the process of adaptation difficult. His usual practice was to create original scripts invariably with his screenwriting partner Noda, so he could tailor those scripts to specific actors he had in mind for the various characters. However, since the characters from the novel already existed, Ozu had to find actors to fit a conception that was not his, and he found this to be a challenge. This circumstance may be one reason why this film is one of the least well-regarded of Ozu's postwar films. This is the first of only three films that Ozu made for a Japanese studio other than his "home" studio, Shochiku. The two other films were Floating Weeds (浮草) (1959) for Daiei and The End of Summer (小早川家の秋) (1961) for Toho. Toho was willing to temporarily lure Ozu away from Shochiku with the promise of a bigger budget than any previous Japanese production: 50 million yen (USD$140,000 or about a million-and-a-half dollars adjusted for inflation). This was the first film starring actress Kinuyo Tanaka after her triumphant months-long visit to Hollywood. Allegedly, Tanaka, from her recent contacts with Hollywood actors, was full of new ideas about acting, which she was not shy about sharing with Ozu. The latter, who held his own very strong (and very un-Hollywood) ideas about acting, was reportedly not pleased by this, and relations between the two during filming were thus somewhat tense. Although conceived as a star vehicle for Tanaka, the actor Sô Yamamura, playing the heroine's unemployed, alcoholic husband, was the only member of the cast to receive an award for his work on the film, being chosen as Best Actor of 1950 by the Blue Ribbon Awards and also as Best Supporting Actor of 1950 by the Mainichi Film Concours.

The film stars Kinuyo Tanaka, Hideko Takamine, Ken Uehara, Sanae Takasugi, Chishû Ryû, Sô Yamamura, Kamatari Fujiwara, Reikichi Kawamura, and Yoshiko Tsubouchi. The performances are so heartbreaking and yet so perfect in every decision made and every word spoken.

The film exemplifies Ozu's rich, mature style, an apparent stylelessness of patient, lifelike rhythms, unobtrusive camerawork, and credibly subtle performances.

Simon says The Munekata Sisters (宗方姉妹) receives:

Also, see my reviews for Tokyo Story (東京物語) and Asteroid City.

NZIFF Film Review: "Asteroid City" (2023).

From the director of The Grand Budapest Hotel and The French Dispatch comes Asteroid City. This comedy-drama film written and directed by Wes Anderson. The film takes place in a fictional American desert town circa 1955. Synopsis: The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.

In September 2020, it was reported Anderson would write and direct a romance film. By February 2021, Michael Cera and Jeff Goldblum were attached to star; the film was then described as being about a "group of brainy teenagers". In June, Tilda Swinton was the first person to officially join the cast. By August, Jason Schwartzman, Scarlett Johansson, Tom Hanks, Jeffrey Wright, Bryan Cranston, Edward Norton, Adrien Brody, Liev Schreiber, Hope Davis, Stephen Park, Rupert Friend, Maya Hawke, Steve Carell, Matt Dillon, Hong Chau, Willem Dafoe, Margot Robbie, Tony Revolori, Jake Ryan, Sophia Lillis rounded out the film's ensemble cast. Bill Murray was originally cast in Carell's role, but contracted COVID-19 shortly before filming. He had to withdraw from the production. At the same time, principal photography commenced and wrapped in October. Filming took place in Chinchón, Madrid, Spain with COVID-19 safety precautions in place. Filming originally planned for Rome, Italy.

The film stars an ensemble cast that includes Schwartzman, Johansson, Hanks, Wright, Swinton, Cranston, Norton, Brody, Schreiber, Davis, Park, Friend, Hawke, Carell, Dillon, Chau, Dafoe, Robbie, Revolori, Ryan, Lillis, and Goldblum. What I was left wanting was more heart and connectivity to the film as a whole. But I simply loved being in the company of all these characters for a few hours. Thanks to the impressive ensemble and their performances.

Interesting in every sense of the way. I typically don’t like stories-within-a-story framework all too much but this one surprised me. Anderson developed three interesting & well polished stories that brought about a unique feeling that always comes from his movies. At times overwhelming in scope, but never unwelcome, the film is what the audience expects from Anderson, but it doesn’t go far beyond that. It's a perfectly curated dollhouse in a candy-coated wonderland. There are worse ways to spend your time. After watching his eleventh feature film, I am 100% confident Anderson was raised in a household with parents that performed a traveling festival of living pictures on weekends. The film is the film equivalent of a Wes Anderson amusement park, captivating audiences with color, chaos, and countless curious characters. If you’re one of those viewers who can only handle Anderson in small doses, then his new film probably isn’t for you. An artistic & set design showcase that serves as a good diversion to amuse oneself when the story isnt particularly engaging. Overall it's an amusing movie with fun, quirky bits, but with little emotional resonance in the disjointed stories. The film is arguably Wes Anderson’s most ambitious film, definitely his most frenetic, and possibly the most alienating to all but the most devoted Wes Anderson fans.

Simon says Asteroid City receives:

Also, see my reviews for The French Dispatch and Merkel.

NZIFF Film Review: "Merkel" (2022).

"From the Academy-Award-winning producers of Searching for Sugar Man" comes Merkel. This German documentary film written and directed by Eva Weber. Driven by extensive archive material and incisive interviews, the film tells the astonishing story of how a triple political outsider – a woman, a scientist, and an East German– became Germany’s first female chancellor and the de facto leader of the free world.

On July 17, 1954, German former politician and scientist, Angela Dorothea Merkel, was born in Hamburg in then-West Germany. Her family moved to East Germany when she was an infant. Merkel obtained a doctorate in quantum chemistry in 1986 and worked as a research scientist until 1989. She then entered politics in the wake of the Revolutions of 1989, briefly serving as deputy spokeswoman for the first democratically elected government of East Germany led by Lothar de Maizière. Following German reunification in 1990, Merkel was elected to the Bundestag for the state of Mecklenburg-Vorpommern. As the protégée of chancellor Helmut Kohl, Merkel was appointed as Minister for Women and Youth in 1991, later becoming Minister for the Environment, Nature Conservation and Nuclear Safety in 1994. After the CDU lost the 1998 federal election, Merkel was elected general secretary of the party. She then became the party's first female leader, and the first female Leader of the Opposition two years later. Following the 2005 federal election, Merkel was elected chancellor. Merkel was the first female chancellor of Germany. During her chancellorship, Merkel was frequently referred to as the de facto leader of the European Union (EU) and the most powerful woman in the world. Beginning in 2016, she was often described as the leader of the free world. In foreign policy, Merkel has emphasised international cooperation, both in the context of the EU and NATO, and strengthening transatlantic economic relations. In 2008, Merkel served as president of the European Council and played a central role in the negotiation of the Treaty of Lisbon and the Berlin Declaration. Merkel played a crucial role in managing the global 2007–2008 financial crisis and the European debt crisis. She negotiated the 2008 European Union stimulus plan, focusing on infrastructure spending and public investment to counteract the Great Recession. In domestic policy, Merkel's Energiewende program focused on future energy development, seeking to phase out nuclear power in Germany, reduce greenhouse gas emissions and increase renewable energy sources. Reforms to the Bundeswehr, which abolished conscription, health care reform and her government's response to the 2010s European migrant crisis, and the COVID-19 pandemic, were major issues during her chancellorship. Merkel stepped down as leader of the CDU and did not seek a fifth term as chancellor in the 2021 federal election.

The film is a reminder of how rare it is to get a clear, sustained look at a woman in politics, and a credit to the film’s unique perspective and fascinating protagonist, that it leaves you wanting more, not less. During a time when politics has become more than just a dirty word, the film has the potential to make you believe in leadership again.

Simon says Merkel receives:

Also, see my NZIFF review for Ennio: The Maestro.

NZIFF Film Review: "Ennio: The Maestro" (2021).

From the director of The Best Offer (La migliore offerta) comes Ennio: The Maestro. This documentary film written and directed by Giuseppe Tornatore. A portrait of one of the most popular and prolific film composers of the twentieth century, ENNIO celebrates the life and legacy of Ennio Morricone, featuring never-before-seen archival footage and interviews with renowned filmmakers and musicians including Hans Zimmer, John Williams, Quentin Tarantino and Clint Eastwood. 

On November 10, 1928, Italian composer, orchestrator, conductor, trumpeter, and pianist, Ennio Morricone, was born. He wrote music in a wide range of styles, with more than four-hundred scores for cinema and television, as well as more than one-hundred classical works, Morricone is widely considered one of the most prolific and greatest film composers of all time. He has received numerous accolades including two Academy Awards, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, eleven Nastro d'Argento, two European Film Awards, the Golden Lion Honorary Award, and the Polar Music Prize in 2010. His filmography includes more than seventy award-winning films, all Sergio Leone's films since A Fistful of Dollars (1964), all Tornatore's films since Cinema Paradiso (1988), Dario Argento's Animal Trilogy, as well as Gillo Pontecorvo's The Battle of Algiers (1968), Bernardo Bertolucci's 1900 (1976), Terrence Malick's Days of Heaven (1978), Georges Lautner's Le Professionnel (1981), John Carpenter's The Thing (1982), Roland Joffé's The Mission (1986), Brian De Palma's The Untouchables (1987), Warren Beatty's Bugsy (1991), and Tarantino's The Hateful Eight (2015), receiving the Academy Award for Best Original Score for the latter. He won the Academy Honorary Award in 2007. After playing the trumpet in jazz bands in the 1940s, he became a studio arranger for RCA Victor and in 1955 started ghost writing for film and theatre. Throughout his career, he composed music for artists such as Paul Anka, Mina, Milva, Zucchero, and Andrea Bocelli. From 1960 to 1975, Morricone gained international fame for composing music for Westerns. From 1966 to 1980, he was a main member of Il Gruppo, one of the first experimental composers collectives, and in 1969 he co-founded Forum Music Village, a prestigious recording studio. He continued to compose music for European productions, such as Marco Polo, La piovra, Nostromo, Fateless, Karol, and En mai, fais ce qu'il te plait. His best-known compositions include The Ecstasy of Gold, Se telefonando, Man with a Harmonica, Here's to You, Chi Mai, Gabriel's Oboe, and E Più Ti Penso. He has influenced many artists including Zimmer, Danger Mouse, Dire Straits, Muse, Metallica, Fields of the Nephilim, and Radiohead. He passed away on July 6, 2020.

The film is a rare bird indeed. It can be enjoyed by the casual viewer as well as those who previously thought they knew everything about what shapes the aforementioned films. Once you see it, you'll never hear the movies the same way again. That said, the film serves well as an introduction to Morricone's life and works, and includes numerous contemporary composers and musicians that reveal just how Morricone's music contrives to shape our movie-going experiences.

Simon says Ennio: The Maestro receives:

Also, see my NZIFF review for The Best Offer (La migliore offerta) and Shin Ultraman (シン・ウルトラマン).

Film Review: "Shin Kamen Rider" ("シン・仮面ライダー") (2023).

"Those which change. Those which never change. And those that don't want to change." This is Shin Kamen Rider (シン・仮面ライダー). This Japanese superhero film directed and written by Hideaki Anno, and based on Kamen Rider (1971-73) created by Shotaro Ishinomori. A man forced to bear power and stripped of humanity. A woman skeptical of happiness. Takeshi Hongo, an Augmentation made by SHOCKER, and Ruriko Midorikawa, a rebel of the organization, escape while fighting off assassins. What’s justice? What’s evil? Will this violence end? Despite his power, Hongo tries to remain human. Along with freedom, Ruriko has regained a heart. What paths will they choose?

Anno first proposed the film after growing close with Toei producer Muneyuki Kii during the production of his 2012 film Evangelion: 3.0 You Can (Not) Redo. In 2015, planning for the film began with Anno as director and screenwriter. Toei initially aimed for a 2021 release date, the year of the Kamen Rider franchise's 50th anniversary; however, production was delayed due to the outbreak of the COVID-19 pandemic. In early April 2021, during a press conference celebrating the 50th anniversary of the franchise's very first episode, the film was announced with a Japanese March 2023 release date. In September, the film's official Twitter account announced the script had been finalized, and shooting was soon to begin. By early October, Sosuke Ikematsu, Minami Hamabe, Tasuku Emoto, Nanase Nishino, Shinya Tsukamoto, Toru Tezuka, Kanata Hongō, Nao Ōmori, Masami Nagasawa, Mikako Ichikawa, Ken Yasuda, Suzuki Matsuo, Takumi Saitoh, Yutaka Takenouchi, and Mirai Moriyama were cast. At the same time, principal photography commenced and wrapped in late January 2022. Filming took place in Tokyo and Fukushima, Japan. The film was shot on the Arri Amira with Zeiss Ultra Prime, Canon Cinema EF and Angenieux Optimo Lenses in the 2.35 : 1 aspect ratio. Like Shin Godzilla and Shin Ultraman, several sequences in the film were shot on iPhones, using camera movements, lens sizes, angles, and zoom timing to mimic modern cinematic techniques.

As good as the action scenes may be, the best thing about the film is the way it gives us reasons to care about the characters at the center of the story instead of just the spectacle. This is thanks to the performances given by the cast.

Anno feels at home with this material and his brand of pop nostalgia feels alive, intelligent, and passionate in a way that Hollywood’s current onslaught of cynical IP rehashes and cinematic universes simply haven’t. The effects are solid, capturing the classic tokusatsu style and texture via CG, creating moments that feel genuinely fun and exciting to behold. But that’s not enough to keep the audience engaged for the two-hour runtime. The film is equal parts love letter and reboot, making it a great entry point for those looking to get to know this iconic character. The film also chooses to echo the hopeful spirit of the original series.

Simon says Shin Kamen Rider (シン・仮面ライダー) receives:

Also, see my review for Evangelion: 3.0+1.0 Thrice Upon a Time (シン・エヴァンゲリオン劇場版:𝄂).

NZIFF Film Review: "Shin Ultraman" ("シン・ウルトラマン") (2022).

"Have you become so fond of humans, Ultraman?" This is Shin Ultraman (シン・ウルトラマン). This Japanese superhero film directed by Shinji Higuchi, written by Hideaki Anno and based on the character of the same name created by Eiji Tsuburaya. It is a reimagining of Ultraman and the 37th film in the Ultraman franchise. The continued appearance of giant unidentified lifeforms known as "S-Class Species" has become commonplace in Japan. Conventional weapons have no effect on them. Having exhausted all other options, the Japanese Government issued the S-Class Species Suppression Protocol and formed an enforcement unit, known as the SSSP. The members chosen for the unit are: Leader Fumio Tamura, Executive Strategist Shinji Kaminaga, Unparticle Physicist Taki Akihisa, and Universal Biologist Yume Funaberi. As the threat of S-Class Species worsens, a silver giant appears from beyond Earth’s atmosphere. Analyst Hiroko Asami is newly appointed to the SSSP to deal with this giant and is partnered with Shinji Kaminaga.

In late December 2013, Anno completed the draft for a reboot of the Ultraman franchise entitled Return of Ultraman Plot Memo (帰ってきたウルトラマンプロットメモ) and submitted it to Tsuburaya Productions in late March 2014. In Summer 2017, Takayuki Tsukagoshi - who would later be appointed chairman of Tsuburaya Productions on November 16, 2017 - commissioned Anno to direct an Ultraman production and its two sequels, set to be released in 2020. A few months later, Anno submitted a recreation of Return of Ultraman Plot Memo, to Tsukagoshi. In mid January 2018, Anno finished the proposal for the trilogy of Ultraman productions. By early February 2019, a first draft of the script for the film was completed by Anno, however, his involvement in the film was put on hold for another year while he worked on Evangelion: 3.0+1.0 Thrice Upon a Time. In early March, the project was unofficially announced by Nikkan Taishu, followed by an official announcement by Tsuburaya Productions in early August, with the latter revealing Higuchi as the director and Anno as the screenwriter. The film would be co-produced between Toho Pictures and Cine Bazar and presented by Tsuburaya, Toho and Khara, with an aim for a 2021 release. By late August, Takumi Saitoh, Masami Nagasawa, Hidetoshi Nishijima, Akari Hayami, and Yutaka Takenouchi. At the same time, principal photography commenced and wrapped in late November. Filming took place throughout Ibaraki Prefecture, Kanagawa Prefecture, Yamanashi Prefecture, and Chiba Prefecture. The film was originally scheduled for an early 2021 summer release date, but was delayed due to the COVID-19 pandemic.

The film stars Saitoh, Nagasawa, Nishijima, Hayami, and Takenouchi. Despite the best efforts of Anno's script and the cast's performances, the human characters fall flat.

With its satirical and topical humour, glorious scenes of destruction and a fresh coat of paint, the film lived up to the buzz and met my expectations in every single way.

Simon says Shin Ultraman (シン・ウルトラマン) receives:

Also, see my review for Shin Godzilla (シン・ゴジラ).

Film Review: "Oppenheimer" (2023).

"The world forever changes" in Oppenheimer. This biographical thriller film written and directed by Christopher Nolan, and based on the 2005 book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and Martin J. Sherwin The movie tells the story of "the father of the atomic bomb," J. Robert Oppenheimer, whose work at the Manhattan Project's Los Alamos Laboratory led to the invention of the first nuclear weapons during World War II.

In September 2021, Deadline Hollywood reported that Nolan would pen and direct a biographical film about J. Robert Oppenheimer, creator of the atomic bomb, with Cillian Murphy set to star in the title role, marking their sixth collaboration after Batman Begins (2005), The Dark Knight (2008), Inception (2010), The Dark Knight Rises (2012) and Dunkirk (2017). Nolan approached multiple studios for the project, including Sony Pictures, Universal Pictures, Paramount Pictures, and Apple Studios due to his strained relationship with Warner Bros because of the studio's decision to give its 2021 films simultaneous releases in theaters and on HBO Max due to the COVID-19 pandemic. According to insiders, Paramount was out of the selection early on in the wake of the replacement of CEO and Chairman Jim Gianopulos with Brian Robbins, an advocate for increased streaming service releases. In mid September, it was confirmed that Universal would finance and distribute the film, with production set to begin in the first quarter of 2022. Some of Nolan's demands included a production budget of $100 million and an equal marketing budget, a theatrical window of at least one-hundred days, twenty percent of the film's first-dollar gross, and a three-week period before and after the film's release in which Universal could not release another new film. By January 2022, pre-production was underway in New Mexico, where a two-day casting call took place in Santa Fe and Los Alamos for people to audition to play local residents, military personnel and scientists. In February, another casting call was held. By late February, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Benny Safdie, Dylan Arnold, Gustaf Skarsgård, Matthew Modine, David Dastmalchian, Tom Conti, Michael Angarano, Jack Quaid, Josh Peck, Olivia Thirlby, Dane DeHaan, Alden Ehrenreich, Jefferson Hall, Jason Clarke, James D'Arcy, Tony Goldwyn, Alex Wolff, Scott Grimes, Matthias Schweighöfer, Emma Dumont, and Gary Oldman rounded out the film's cast. At the same time, with a budget of $100 million, principal photography commenced and wrapped in May. Filming took place throughout California, New Jersey, and New Mexico, USA. The film used a combination of IMAX 65 mm and 65 mm large-format film, marking Nolan's sixth film to be shot on the format following The Dark Knight, The Dark Knight Rises (2012), Interstellar (2014), Dunkirk and Tenet (2020). In order for the black & white sections of the movie to be shot in the same quality as the rest of the film, Kodak developed the first ever black & white IMAX film stock. Real explosives were used to recreate the Trinity nuclear test, forgoing the use of computer generated graphics. While using miniatures for the practical effect, the movie's special effects supervisor Scott R. Fisher referred to them as "big-atures", as the team tried to make the models as large as possible. A whole 1940s-style town was also built from scratch. Because Nolan wanted to make the movie as subjective as possible, telling everything from Oppenheimer’s point of view, they had to come up with a way to visualize his ideas and thoughts about the way he was imagining the quantum world and waves of energy. The visual effects were provided by DNEG, marking their eighth collaboration with Nolan, with Andrew Jackson as visual effects supervisor. In October 2021, Ludwig Göransson was revealed to be composing the score for the film, marking his econd and consecutive collaboration with Nolan, right after Tenet (2020), as frequent Nolan collaborator Hans Zimmer wasn't available since he was committed with the scores of Dune (2021) and Dune: Part Two (2023).

The film stars an ensemble cast that includes Murphy, Blunt, Damon, Downey Jr., Pugh, Hartnett, Affleck, Malek, Branagh, Safdie, Arnold, Skarsgård, Modine, Dastmalchian, Conti, Angarano, Quaid, Peck, Thirlby, DeHaan, Ehrenreich, Hall, Clarke, D'Arcy, Goldwyn, Wolff, Grimes, Schweighöfer, Dumont, and Oldman. Thanks to the performances by its stellar ensemble, the film stands on its own as a biopic, but it also works as a profound tragedy, stunning in its portrayal of a man teetering on the edge, though he doesn't even know it. Murphy dominates the picture through his tour-de-force performance. Murphy's central performance is as compelling as the film's premise and Nolan's execution of it. In Murphy's hands, Oppenheimer is a modern Prometheus destined to be tortured for all eternity.

Directed by Nolan, based on Bird and Sherwin's 2005 biography, this is an intellectual exercise that's unlike anything you've seen lately. Nolan's winding timelines and practical effects are marvels to behold, but they seldom compare to the slow push-in on Oppenheimer's face, as brief but powerful bursts of memory envelop the screen. This terrific movie, about one man's journey of tragedy, does everything a biopic is supposed to do: intrigue, involve and keep you empathising. An unnerving, but deeply penetrating experience that elevates what could have been a routine biopic into a meditation on the slippery nature of the hubris of mankind. The film doesn't just draw you into a dramatic story, it also makes you aware of a human story. And that's food for thought and entertainment. Equally absorbing are its themes of scientific hubris and regret in a playground of complex politics. A superb Cillian Murphy as the sensitive, conflicted genius was a revelatory match for Nolan's technical talent. You may not be able to pinpoint with words how it all comes together, but the horror and power of Nolan’s imagery and impressionistic approach to filmmaking convey another ponderous picture, the director’s most abstract yet exacting work yet.

Simon says: Oppenheimer receives:

Also, see my review for Tenet.

Film Review: "Barbie" (2023).

From the director of Lady Bird and Little Women comes Barbie. This fantasy comedy film directed by Greta Gerwig, written by Gerwig and Noah Baumbach, and based on the fashion dolls of the same name by Mattel. It is the first live-action Barbie film after many computer-animated direct-to-video and streaming television films. Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbie Land. However, when they get a chance to go to the real world, they soon discover the joys and perils of living among humans.

In September 2009, development on a film based on the Barbie toy line began, when it was announced that Mattel had signed a partnership to develop the project with Universal Pictures, but nothing came to fruition. In April 2014, Mattel teamed with Sony Pictures to produce the film, which would have Jenny Bicks pen the script. Filming at the time was anticipated to begin by the end of the year. In March 2015, Diablo Cody was brought onto the project to rewrite the script. Sony would again have rewrites done to the script later that year, hiring Lindsey Beer, Bert V. Royal, and Hillary Winston to pen separate drafts. In December 2016, Amy Schumer entered negotiations to star in the title role, with Winston's screenplay being used that would be rewritten by Schumer and by Schumer's sister, Kim Caramele. In March 2017, Schumer exited negotiations, blaming scheduling conflicts with the planned June 2017 filming start. however, in 2023 she revealed she left the project due to creative differences. In July, Anne Hathaway was under consideration for the title role, with Sony hiring Olivia Milch to rewrite the script. In March 2018, Alethea Jones was hired to direct. However, in October, Sony's option on the project had expired and was transferred to Warner Bros. Pictures. Hathaway and Jones ultimately departed the project. In July 2019, Margot Robbie was set to star in the title role, with Gerwig and Baumbach hired to pen the script. In July 2021, Gerwig was hired to direct. By late March 2022, Ryan Gosling, America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell, Hari Nef, Alexandra Shipp, Emma Mackey, Dua Lipa, Nicola Coughlan, Kingsley Ben-Adir, Simu Liu, John Cena, Emerald Fennell, Michael Cera, and Helen Mirren rounded out the film's cast. At the same time, principal photography commenced and wrapped in mid July. Filming took place at Warner Bros. Studios, in Leavesden, England and Venice, Los Angeles, California.

The movie is so badly written, performed and so entrenched in its own space that it manages the impossible: to make us dislike Robbie and the entire cast in characters that were beloved toys.

Next to all woke films these days, this the most egregious example among films of filmmakers warping established characters to suit their own tastes and ideas rather than giving fans what they want to pay for.

Simon says Barbie receives:

Also, see my review for Little Women.