Film Review: "The Sky Is Everywhere" (2022).

"Grief and love; we don't get one without the other" in The Sky Is Everywhere. This teen romance drama directed by Josephine Decker, adapted by Jandy Nelson, and based on her novel of the same title. Tucked among the magical redwood trees of Northern California and surrounded by her grandmother’s gargantuan roses, 17-year-old Lennie Walker, a radiant musical prodigy, struggles with overwhelming grief following the sudden loss of her older sister, Bailey. When Joe Fontaine, the charismatic new guy at school, enters Lennie’s life, she’s drawn to him. But Lennie’s complicated relationship with her sister’s devastated boyfriend, Toby, starts to affect Lennie and Joe’s budding love. Through her vivid imagination and honest, conflicted heart, Lennie navigates first love and first loss to create a song of her own.

In August 2015, Warner Bros. Pictures acquired film adaptation rights to Nelson's 2010 novel. The film was originally set to star Selena Gomez, with her serving as an executive producer as well through her production company. In October 2019, it was announced A24 and Apple TV+ would produce the film, with Decker hired to direct, and Nelson penning the adaptation. In July 2020, Grace Kaufman joined the cast of the film, in the lead role of Lennie. By October Jason Segel, Cherry Jones and Pico Alexander rounded out the film's cast. At the same time, principal photography commenced and wrapped in late November. Filming took place in Eureka, California.

The film stars Kaufman, Segel, Jones and Alexander. Kaufman and the cast's performances are showstopping-ranging over a striking spectrum from muted passivity to explosive chaos-and are reminiscent of gripping theater.

The film's depiction of a grieving teenager's perception of other teenagers, and themselves, is crucial. The director presents us with the honest truth we are our harshest critics. With that, Kaufman and Colimon's duo dazzles. As it is, the film is the perfect storm of Decker's style and technique and the cast's talents, creating a vortex that'll leave your head spinning. A subjective and engaging character study that's daring, disarming, dark and, unsurprisingly, anchored by a pitch-perfect Kaufman. The film is an engaging drama, which explores the intricacies of teenage relationships and roles in a considered, compelling - and stylish - manner. The proposal is effective, although so much excess is at times unnecessary, especially when you have a very good actress and she's portraying a writer who is so fond of forcefulness and narrative clarity. Decker's adaptation presents the psychosexual obsession, but the salacity feels perfunctory rather than passionate. While it's clear that the is supposed to be a type of psychological teen romance drama, the way its story is told and the imagery used to tell it make it less than compelling. Overall, the film displays a mastery of the medium in a story that defies easy and precise articulation. Her portrait of the creative process as an atmospheric thriller is subversively spooky in a way Lennie Walker herself would approve.

Simon says The Sky Is Everywhere receives:

Also, see my review for Shirley.

Film Review: "BigBug" (2022).

"From Jean-Pierre Jennet, director of Amélie, The City of Lost Children and Delicatessen" comes BigBug. This French science fiction comedy film, written and directed by Jean-Pierre Jeunet. Humans have ceded most takes to AI in 2045, even in nostalgic Alice's home. So when robots stage a coup, her androids protectively lock her doors.

The film stars Dominique Pinon, Elsa Zylberstein, Isabelle Nanty, Youssef Hajdi, Alban Lenoir, François Levantal and Claude Perron. All of this is handled in a breezy, off-handed, nutsy manner, as the superb cast combines to help bring it off.

Thriving on eccentricity, the film also utilizes an artistic entwining of music and sound effects, tinged with a spectacularly compelling atmosphere of unease. With its eccentric characters, its weird co-existence between humans and robots, its a uniquely quirky story and blend of dusty antiquities and futuristic gizmos, the film is indescribably wild. What will Jeunet serve for dessert in their next movie? Something equally daring, one hopes -- but more thoroughly cooked and a bit easier to swallow. Like a light-hearted Brazil it conjures up imagery of such impact, and such resonant subject matter that it will affect audiences for generations to come. Serves up a stew that seems to be made of a little of everything from one hundred years of screen comedy, seasoned with futuristic science-fiction. Part futuristic science-fiction, part domestic drama, part hostage thriller, this ingeniously original French film defies categorization, but is successful on all of these levels, which may explain why it will become an international cult classic. Eventually, the film descends into raw absurdity and excess. But first, it serves as an ample experimental field and proving ground for a wild talent that's thankfully become more disciplined with time. The film takes the futuristic, quirky scenario of humans taken hostage by robots and makes of it something quite poetic and quite funny. Sure, it's funny, it's quirky, it's horny, it's diabolically, unabashedly idiosyncratic, but it's also an epic ode to that most fundamental expression of human endeavor -- creativity. Increasingly inventive as it progresses, Jeunet's fast, funny feature debut entertains from sinister start to frantic finish. A hugely enjoyable film, the film welds comedy and magic into a bizarre, quirky and wild fantasy of an oddball future. This lunatic's take on the future of man is so delightfully warped that it's impossible to shake it out of your head and go get a decent night's sleep. An amazing film, filled with amazing style, a wonderful off-beat tone, and some bits of satire which work with the film instead of being apart from it. A fair bet for cultdom, a lot more likeable than its subject matter suggests, and simply essential viewing for humans and robots. The film showcases dazzling art direction that takes cinematic expressionism to new heights. Set in a wondrously futuristic world populated with eccentric humans and unique artificial intellegence, it glistens with dense fantasies, technological feats that make the catch-phrase "state of the art" seem antique.

Simon says BigBug receives:

Also, see my review for The Young and Prodigious T. S. Spivet.

Film Review: "Kimi" (2022).

"She's not the only one listening" in Kimi. This thriller film directed by Steven Soderbergh and written by David Koepp. During the COVID-19 pandemic in Seattle, an agoraphobic tech worker discovers evidence of a violent crime while reviewing a data stream, and is met with resistance and bureaucracy when she tries reporting it to her company. To get involved, she realizes she must face her greatest fear by venturing out of her apartment and into the city streets, which are filled with protestors after the city council passes a law restricting the movements of the homeless population.

In late February 2021 it was announced that Soderbergh was chosen to direct a thriller for New Line Cinema with Zoë Kravitz on board to star. By April, Rita Wilson, Erika Christensen, Devin Ratray, Andy Daly and Charles Halford. At the same time, principal photography commenced and took place in Los Angeles, California and Seattle, Washington, USA.

The film stars Kravitz, Wilson, Christensen, Ratray, Daly and Halford. Kravitz looks natural for a first-time thriller star and this is the ideal vehicle for her.

The film is a good thriller. This is a nice little Soderbergh snack for his fans until his next big time release. Kravitz is pretty good in this and shows a genuine venerability and toughness that you don't see much on the big screen. The film is one that knows what it wants, which is to showcase the athletic prowess and personal charm of its star Kravitz. It achieves this goal stylishly and entertainingly. Just because Soderbergh's ambitions aren't as grand and sweeping here as elsewhere does not make the film worth any less. The suspense is admittedly enjoyable at times, but your eyes and ears become perpetually distracted by the dull story and somewhat weak supporting performances. The film does have style, but unfortunately the focus on that element seems to have come at too much of a cost. I don't want to say much more than that. The film jumps right into the suspense and thrills, leaving lots of questions and a delicious sense of mystery that remains until the very end. It's worth seeing, and hands-down it's one of your better options at the cineplex right now, but there's no urgency. It may seem like this is merely an exercise in style and to be honest, it is. Soderbergh's clearly fascinated by the physicality of Kravitz as a woman on the run and the film's sole reason for existence is to highlight those skills. Soderbergh continues his occasional practice of using actors as found objects in his perfectly enjoyable formula thriller. The film's shortcomings don't detract from the minute to minute onscreen ride - featuring Kravitz's fresh (and uncompromising) thriller work. Soderbergh may be unpredictable but his command of movie making is exhilarating and lord knows he's never dull. If you're a fan of the thriller genre, Soderbergh superbly nails what thrills it takes for those films to work so well.

Simon says Kimi receives:

Also, see my review for No Sudden Move.

Film Review: "Death on the Nile" (2022).

"Murder was just the beginning" in Death on the Nile. This mystery thriller film directed by Kenneth Branagh, adapted by Michael Green, and based on the 1937 novel of the same title by Agatha Christie. It is a sequel to Murder on the Orient Express (2017). Belgian sleuth Hercule Poirot’s Egyptian vacation aboard a glamorous river steamer turns into a terrifying search for a murderer when a picture-perfect couple’s idyllic honeymoon is tragically cut short. Set against an epic landscape of sweeping desert vistas and the majestic Giza pyramids, this dramatic tale of love gone wrong features a cosmopolitan group of impeccably dressed travelers and enough wicked twists and turns to leave audiences guessing until the final, shocking denouement.

In May 2017, prior to the release of Murder on the Orient Express (2017), Branagh expressed interest in further installments if the film was successful. In late November, after the release of Murder on the Orient Express, it was announced that 20th Century Fox was developing Death on the Nile as a sequel with Green returning to pen the adaptation and Branagh set to reprise his role as Poirot, and return as director. In January 2019, Patrick Doyle, a frequent collaborator on Branagh's films, was announced to return to score the installment. By late September, Tom Bateman, Annette Bening, Russell Brand, Ali Fazal, Dawn French, Gal Gadot, Armie Hammer, Rose Leslie, Emma Mackey, Sophie Okonedo, Jennifer Saunders, and Letitia Wright rounded out the film's cast. At the same time, with a budget of $90 million, principal photography commenced and wrapped in late December. Filming took place throughout Morocco and at Longcross Studios in Surrey, England and was shot entirely on large format 65mm film like Murder on the Orient Express. The film had been rescheduled several times due to COVID-19 pandemic and rape allegations against Hammer (with the company deciding against recasting his role reshooting his scenes). The film was originally set for a December 20, 2019 release date, before being rescheduled to October 9, 2020. It was then pushed back two weeks to October 23, and again to December 18, in response to the domestic box office underperformance of Tenet (2020) during the COVID-19 pandemic. In November 2020, the studio removed the film, along with Free Guy (2021), from its upcoming release schedule until further notice. The next month, the film was rescheduled to September 17, 2021. In March 2021, it was then moved to the current February 2022 date.

The film stars Branagh, reprising his role, with Bateman, Bening, Brand, Fazal, French, Gadot, Hammer, Leslie, Mackey, Okonedo, Saunders, and Wright. The film is filled with a surprising and remarkable cast, able to shine with little effort. But, with a glorious mustache that must be seen to be believed, Branagh slips into the role of Hercule Poirot quite comfortably.

Branagh's new adaptation of Christie's Death on the Nile is an enjoyable film brought low by its own imperfections. Overall, the film is a worthwhile bit of fun.

Simon says Death on the Nile receives:

Also, see my reviews for Belfast and Murder on the Orient Express.

Film Review: "Belfast" (2021).

"No matter how far you go, you never forget where you came from." This is Belfast. This British and Irish coming of age comedy-drama film written and directed by Kenneth Branagh. The film is a poignant story of love, laughter and loss in one boy’s childhood, amid the music and social tumult of the late 1960s.

From the late 1960s to 1998, the ethnographic-nationalist conflict in Northern Ireland, The Troubles, mostly took place in Northern Ireland. The conflict was primarily political and nationalistic, but it also had an ethnic or sectarian dimension but despite the use of the terms 'Protestant' and 'Catholic' to refer to the two sides, it was not a primarily religious conflict. A key issue was the status of Northern Ireland. Unionists and loyalists, who for historical reasons were mostly Ulster Protestants, wanted Northern Ireland to remain within the United Kingdom. Irish nationalists and republicans, who were mostly Irish Catholics, wanted Northern Ireland to leave the United Kingdom and join a united Ireland. The conflict ended with the Good Friday Agreement of 1998 and resulted in more than 3,500 deaths, of whom fifty-two per cent were civilians, thirty-two per cent were members of the British security forces and sixteen per cent were members of paramilitary groups.

In July 2020, Branagh announced that he would write and direct a film based on true story events from his childhood. Branagh wrote the screenplay at the encouragement of his friend, actor John Sessions. The film marks the first time Branagh penned his own script since The Magic Flute (2006). By September, Judi Dench, Caitríona Balfe, Jamie Dornan, Ciarán Hinds and newcomer Jude Hill were cast. At the same time, principal photography commenced and wrapped in October. Filming took place in London, England and Belfast, Ireland. This is Branagh's second digitally shot film, due to the low budget and COVID-19 shooting schedule. His first was All Is True (2018), with all of his other projects shot on 35mm or 65mm film stock. It was also shot almost exclusively using only available light (ie. no artificial film lighting) including interior scenes. The film features music by Belfast native Van Morrison, including eight classic songs and a new song Morrison wrote for the film.

The film stars Balfe, Dornan, Dench, Hinds and Hill. The precision of the characters and the performances that Branagh draws out of his cast make this a pleasure even when when it's a bit pokey and aimless.

The Troubles as a coming of age comedy-drama: Branagh offers a warmly nostalgic view of his childhood in a Belfast suburb during the 1960s. Both serious and funny, with typically wicked Irish humor offsetting the heavy emotions of fear, anger, sorrow, and need. The antics of the colorful characters and its fast-paced story line give the film all the spontaneity of a child at play. The film is an enormous success right now, where every frame must have its special memories for Irish audiences. Through international eyes, it is a more universal film, not so much about social upheaval as about memory.

Simon says Belfast receives:

Also, see my review for Artemis Fowl.

Film Review: "Parallel Mothers" ("Madres paralelas") (2021).

From the director of Pain and Glory (Dolor y gloria) comes Parallel Mothers (Madres paralelas). This Spanish drama film written and directed by Pedro Almodóvar. Two women, Janis and Ana, coincide in a hospital room where they are going to give birth. Both are single and became pregnant by accident. Janis, middle-aged, doesn’t regret it and she is exultant. The other, Ana, an adolescent, is scared, repentant and traumatized. Janis tries to encourage her while they move like sleepwalkers along the hospital corridors. The few words they exchange in these hours will create a very close link between the two, which by chance develops and complicates, and changes their lives in a decisive way.

In February 2021 it was announced that Almodóvar would pen and direct a new Spanish drama film entitled Madres paralelas. By early March, Penélope Cruz, Milena Smit, Israel Elejalde, Aitana Sánchez-Gijón, Julieta Serrano, Rossy de Palma, Pedro Casablanc, Adelfa Calvo and Ainhoa Santamaría were cast. It was reported that Almodóvar intended to cast Anya Taylor-Joy, but couldn't due to Taylor-Joy's busy schedule. At the same time, principal photography commenced and wrapped in late April. Filming took place in Madrid, Torrelaguna and Torremocha de Jarama, Spain. The film was originally scheduled for a September 10, 2021 release date. In late August, it was announced that the film was postponed until October 8 2021.

The film stars Cruz, Smit, Elejalde, Sánchez-Gijón, Serrano, de Palma, Casablanc, Calvo and Santamaría. Who knows the heart of women better than Almódovar? Stunning performances, complex characters, and brilliance all around from the cast.

Like so many Almodóvar films, the emotional revelations are heightened by vibrant visuals and impeccable style. Even in our resolve, though, we are not in control. Janis and Ana's stories illustrates the ways in which we blindly revisit upon others the pain we have received in our lives. This is not my favorite Almodovar twenty first-century work, but I'm grateful one of the film world's high-wire acts continues to produce at such a fantastic level. I don't wish to spoil the surprises Julieta has to offer. Suffice to say the emotional punches are consistent and land more often than not. Almodóvar has devoted many of his films to strong female characters. Underneath his signature bold colours, though, his latest feature feels strangely shallow. The film is emotionally resonant yet far from this auteur's best - the ingredients are all there, you'll just wish they were a little less undercooked. Almodóvar continues to be a leading figure in telling women's stories, and pulls this one off with just enough majesty to keep you in its sway. Exploding off the screen in a blast of colour and compassion, Almodóvar's new film is one of 2021's cinematic treasures. Compared to Almodóvar's grand masterpieces, his latest might seem quaint. But the film is a subtle force of nature, elementally connected with its lead character and her battle to regain personal and familial balance.

Simon says Parallel Mothers (Madres paralelas) receives:

Also, see my review for Pain and Glory (Dolor y gloria).

Film Review: "The Tindler Swindler" (2022).

"Modern love is a dangerous game" in The Tindler Swinder. This crime documentary film directed by Felicity Morris. Posing as a wealthy, jet-setting diamond mogul, he wooed women online then conned them out of millions of dollars. Now some victims plan for payback.

Simon Leviev, or actually known as Shimon Yehuda Hayut, is a professional hustler and came from a humble background in Tel Aviv, Israel. At the age of eighteen, he fled Israel after becoming wanted for fraud. He was accused in 2011 of stealing cheques from an employer. He didn't attend his court date and left the country on a forged passport. In 2015, Simon served three years in a prison in Finland for aggravated fraud. Under various names, he had stolen money from three women after claiming he was in the weapons industry and a Mossad agent before getting cash from them. He was then sent back to Israel, where he fled again before his court date and changed his name to Simon Leviev in 2017, claiming to be the the son of 'King of Diamonds' billionaire, Lev Leviev. As the title suggests, Simon would often meets his targets on Tinder, catching their interest with a profile boasting a five-star lifestyle. He would romance his targets, spending thousands on romantic gestures. After a couple of months, he pulled the rug out from under them, saying he was in trouble due to the dangerous nature of the diamond industry. He would then request the women give him a credit card temporarily in their name, he would promise to pay her back, but before that he needed to stay under the radar and off-grid for fear of his life. Believing he truly had the cash after what they had experienced with him, and scared for his safety, the women would oblige. Sometimes he would pay back some of the charges as a mark of good faith, but mostly he would forge bank transfer receipts, claiming he'd sent the money and blaming the bank for failing to conduct the transaction. Over the years he became wanted in more than seven countries for the scheme, but proved almost impossible to trace. In the film, Simon's method was described as a pyramid scheme. He would take money from a girl in one city to pay for his dalliances in another. In 2019, he was ultimately arrested in Athens after traveling to Greece on a fake Israeli passport. Simon was last known to be living free in Israel after serving only five months of a fifteen-month sentence for the crimes he committed. After his release, he launched a business mentoring website. He still lives an extravagant lifestyle which he boasts about online.

The story of Simon Leveiv and the victims he left in his wake is so outlandish and disturbing that it does make for a fantastically engrossing and entertaining film.

Simon says The Tindler Swinder receives: