Reviews

I absolutely loved this film and the way this tragic but at the same time sweet and hopeful story was told, which is mainly through the eyes and observations of this 5 year old boy Jack, whose view of the world completely changes when he is forced to come to grips with the fact that the world is a much bigger place than what he's known through living in the room. Jack and his mom share a relationship like no other, and it is rare that you see such a strong bond between two people portrayed in such an authentic and delicate way, by two incredible actors Brie Larson and Jacob Tremblay. These two provide the backbone of the story, their strength, their perseverance and the love they share is what makes the film-goers become so attached to these characters. The details that were put in this story make it so much more than just a story about 2 victims of a psychotic kidnapper that faced immense psychological trauma. For example, the way that Joy uses Alice in wonderland's story to explain to Jack what happened to her and why they were in room, or her facial expression as she looks up at the ceiling and wonders what will be the future of her child if she doesn't do anything to get him out of there. Joy's blank expression as she ponders the journalist's words of whether it would have been better to have asked Old Nick to get him out, shows a tormented soul that is struck with the realisation that she has potentially been a bad mother to the one thing she loves the most and has devoted her life to. The miracle of the story is that little Jack, as afraid and bewildered as he first is by this new world he is forced to enter, becomes the hero of the story and gives his mom his hair, in a way lending her his 'strong' to help her get through her depression. I've been a bad mother to you, Joy tells him and he replies with: You're Ma, ultimately the most important words that a mother could hear. An incredibly touching story involving two superb performances that I know I will be coming back to forever.

It has been a while since the last time I've watched a movie as real, as detailed and as raw as blue is the warmest colour. Why Abdellatif Kechiche's movie succeeds so much is because it takes a simple story and explores it in such honesty and depth that you're no longer watching a movie. Instead, you're taken to 21st century Paris, to witness the emotions experienced when a teenage girl like Adele falls in love for the first time. The film's biggest triumph, in my opinion, is Adele Exarchopoulos, the film's lead actress. She plays Adele's part with such honesty and vulnerability, she gives so much of herself to this character that you can't help but feel that it is truly her experiencing these emotions. It is the exact representation of method acting, from details like breathlessness while sobbing and panting, to the twitching and muscle spasm of her jaw when she gets tense and overwhelmed. Adele and Lea Seydoux create characters that are incredibly refreshing to watch. Nothing about this movie feels forced or fabricated. It is how you know this film could never have been the product of a Hollywood movie, as none of the movie-magic, the glam and the charm of Hollywood film making is present here. What you find instead is a passionate love story that ends in an anti-climactic and non-romanticised way – our characters do not reach closure at the end of the movie – and to me this ending is more magical and moving than any other happily ever after ending, because it hits home. It makes you think of your previous intense relationship you never really got closure on, and just like Adele, were left with just one option, to leave it all behind and march on. This film explores what it feels like to be 100% dependent on someone emotionally, how one person can rock your whole world and how as impossible as it may seem at the time, you will still continue breathing when they no longer choose to be a part of your life. And it does so in the most honest and beautiful of ways.

Birdman was Alejandro Gonzalez Iñaritu's love affair, The Revenant is his marriage. In fact, this 2 and a half hour epic feels like it it's bound to leave a signature mark on the filmography this 21st century director genius will leave behind him. Paired with an incredibly dedicated and intriguing performance by Leonardo DiCaprio, this visceral experience that takes place in the Louisiana territory in 19th century United States of America provides the main backdrop for the film. The film's greatest advantage is Iñaritu's innovative and characteristic use of camera – one that allows you to experience a story not through the cinema's seat looking at a picture screen, but through the bystander traveller position the director creates. Through his highly-intimate at times, while panoramic and aerial at other times style of filming, Iñaritu tells a story in a different way than the more commonly observed style of storytelling seen in American cinema. The story of the Revenant is one mainly told through the various emotions and mental experiences our lead character goes through. Instead of the director creating a narrative to explain Glass' past, he takes you into the mind-set of this man, the dreams he sees when he closes his eyes, ones that would fuel his spirit and give him resilience. Glass embodies the character of an incredibly courageous and persevering father, one that had to face incredible tragedy and misgivings in his life, and one that ultimately comes face to face with the ultimate tragedy: losing his son, the last remaining member of the loving family he once had. Through this movie, the audience experiences the vast array of emotions that a person can go through when pushed to the edge, like vengeance, and how when faced with inexplicable and unbearable sorrow, this notion alone can give you the strength to continue surviving. There is a deep hatred that is created when someone kills the one you love so much, and this hatred, and need to avenge his son's murder is what ultimately drives the actions of the character. We are taken along to get to see this man getting stronger and stronger , following his wife's advice, one he'd always give his son: When there is a storm, and you stand in front of a tree, if you look at its branches, you swear it will fall, But if you watch the trunk, you will see it's stability. We feel the intense pain seen through his eyes when he first sees his dead son, we feel his desire to remain alive every time he hears his wife's voice. The brief moments of bliss amongst him and the native, the kindness given by a stranger considered the 'enemy', one that was spared by his own men. We experience this human rise from that crippling body and finally let go of that potent hatred and let his prey's fate rest in the hands of god, the hands of nature. It is a story with such profound impact, one so rarely seen through this current list of already existing and simplistic forms of storytelling that so often feel unattached. Alejandro doesn't attempt to explain a story, he becomes the story, and together with the breath-taking cinematography of Chino, and DiCaprio's stellar performance, he allows us to not just listen to a story, but to experience a story, and become a part of it.

Tom a la ferme is probably the most commercial of Dolan's films up to this point in his career. I say this because the movie includes a lot of the features that a good psychological thriller uses to keep its audience engaged. The chasing scenes, the intense score, the many close ups of our main character played with intensity and magnetism by Dolan himself. Dolan introduces a complex relationship between the villain and the victim, one we don't often see in this type of genre. While the villain here always remains violent, dangerous and cruel, at time he's also seen to be extremely vulnerable, and in a way is in need of his prey not for food, not for fulfillment of the usual need for sadism that describes such villains, but for company and affection. In his own twisted way Francis is dependent on Tom not leaving, as he does not want to go back to this lonely and secluded life he found himself in after choosing to stay behind and take care of his mom. This duty Francis feels to please his mom and help her with the farm as well as the mother's sorrow and pain felt in the aftermath of her son's death is one of the prominent topics in Dolan's films, the bond between mother and son. At some point in the film, this desire of Francis to keep Tom in the farm goes beyond the need for compassion, with scenes of sexual tension between the two becoming more and more common as the movie progresses. After attempting and failing to escape, Tom starts to find the eerie and intense life in this dysfunctional household get to him as he refuses Sarah's offer to get him out of the farm, and in a way developing a Stockholm syndrome. The lamb that once needed to escape the wolf's nest, now finds his position there and realises his importance in consoling the grieving mom and helping out the man that needs him and at the same time abuses him – this strange co- dependency is in fact what makes this thriller so intriguing. This comes to an end when Tom finally realises the danger he's facing after he finds out about Francis' past. All in all, while the film provides a storyline engaging enough to keep the audience watching, it never really manages to wow the audience at any point, nor does it manage to convince us of the credibility of its characters, with a lack of justification for many of their actions.

Les amours imaginaires is more of an artistic endeavour rather than a film of much substance. In this film, Dolan gets to showcase his various directorial tricks which include long slow-motion shots with electrifying and captivating music playing over, flashing lights that display a scene as if it's taken out of a music video. These tricks however, as visually appealing and intriguing as they are to watch, do not do much to help this otherwise fairly empty plot and minimal character development. Essentially, Dolan has created a very pretty and stylish film about 2 people that infatuate over a boy, who continues to lead them on throughout the film only to finally come to the realisation he wasn't interested in them at all. The degree of obsession these characters develop for this guy, to the point where it turns them bitter and spiteful to each other, makes these characters slightly pathetic and unappealing especially given the fact that none of the 2 manage to develop any kind of actual chemistry or friendship with this person. On top of that the reason behind Nicolas' (the source of infatuation) over-the-top playfulness and flirtatiousness that ends up misguiding our characters in regards to his feelings towards them is never truly explained or justified. What are the reasons for this guy befriending these 2 people to this extent when none of the 2 seem to be any fun to hang out with? Having said this, the main positive aspect of the movie is that it provides a platform for the director to showcase his many talents using vibrant colours and scenery as well as elegant camera angles and shots. The movie is almost entirely comprised of musical clips, that feature the characters in slow motion shots and allow the director to express himself through hipsteristic styles (vibrant, eccentric costumes and highly stylistic sets) while still managing to bring out a bit of the characters' personalities and motivations, giving an artistic edge and aesthetic to this film that stays with you after it's finished. Note: It is interesting to see how Dolan is influenced by other directors and how small integral parts of other films he admires get embedded into his own films; His character in this movie for example expresses his disdain towards Nicolas at the end of the film in a very similar way to River Phoenix's character in My Own Private Idaho in the café scene.

By this point, I can say with confidence that each movie Xavier Dolan has made has been a unique experience, quite distinct in form and feeling from the rest. While I may not have fully enjoyed each and every single one of his films, I can still appreciate the art and film making technique that has underpinned each and every one of them. Mommy however, is a movie made with such tenderness, such whim and such charisma with its characters so lively so passionate and so louder-than-words that it manages to touch you in a way no other movie of his has managed to do in such extent. Hence why I believe this film is a defining point in Dolan's career, one that truly shows what this director is capable of. The film's protagonist, a foul-mouthed, hyperactive and completely inappropriate child-like soul, carries out some of the film's best comedic moments and at the same time some of the most emotional and breathtakingly human moments. The majority of the film is shot in a 1:1 aspect ratio, allowing for a widening of the screen in moments of pure and exalted emotion, like the absolute sense of freedom Steve feels riding in the streets with his trolley, throwing lemons to the car drivers furiously waiting before him. Another one of these times is when his mom, in a moment of hope, envisions what she wants her son's life to be and all of the wonders of life she wants him to experience (this particular scene is the 1st part of the script written by Dolan after hearing Ludovico's incredible piano piece). Xavier presents us with 3 characters that are so dysfunctional in their own lives, yet together they manage to create a family so strong and unbreakable. Despite Steve's mannerisms continuously pushing the 2 women's limits, the two never lose sight of the enormous heart this volatile kid has, and become determined to help him pursue his dreams and defy a constitution that wants to deem him unsafe and a potential threat to society. When the mother sees no way of truly helping her son in the long run, she places her final shreds of hope to the hands of specialists, and chooses to believe that her son will be safe in their hands. Steve however, after a few words of remorse and appreciation for all his mom has done for him, chooses to flee from the entrapment of the institution, and chase the feeling of ultimate freedom that once allowed him to be truly and utterly alive. These characters, this score and this sweet, heartfelt and ultimately tragic story therefore manage to touch in the most profound of ways.

To make an almost 3-hour long film without losing the audience through the course of these 3 hours is a tough thing to do. Dolan manages to achieve this, and he does so in a variety of ways: Firstly, the narrative remains coherent, realistic and well-thought throughout and never falls into areas of predictability. The movie benefits from terrific performances by its two lead actors as well as an all- rounded cast with some of the most subtle but fine acting seen – in particular, Fred's sister, played by Monia Chokri. The two protagonists create a chemistry on screen that is so unique, so passionate that it makes the audience want to root for this couple. Xavier explores the struggles of that come with being transgender in an otherwise heterosexual couple in a truly honest and non-superficial way, with the dialogues exchanged between the two characters avoiding all clichés that could easily have been included with a topic like this. The film gets to the core of the difficulties and trepidations that a couple like this one may face and how in a normal world, love is often not enough to truly overcome these obstacles. It is ultimately a love story between two humans that truly try to make it work and never really fall out of love but come to the realisation that the obstacles they once thought they could overcome, were too great a factor in their lives to allow them to live happily. Laurence had hopes that this great love they shared would be strong enough to get them through the physicality of same sex marriage. Fred on the other hand, while she may have initially believed the same, as she gets older she realised that she could never fool herself into thinking she could get past it. Finally what truly makes this film so entertaining to watch is the many stylistic elements the director adds, with moments in the film where score and staging much so very well together and give you a goose-bumping feeling as if you've watched a monumental music video – this elegance of music and film combined together is often seen in Dolan's films.

Enter the void is perhaps one of the most mind-blowing films in terms of visuals and creating an acid-trip like aesthetic that allows the audience to get into Oscar's frame of sight and see what he sees, which while often visually stunning can often be haunting and really morbid and dark. The director chooses to tell his story through the soul of this young protagonist who dies early on in the movie, a soul that has evacuated its body but lingers in the empty spaces of its universe, unwilling to follow the light and enter the unknown dimension that comes after death. The whole plot of the movie is explained by one of the characters Alex who summarizes the plot of the book he gives to Oscar about the theory of what happens to a person's soul when they die. And in fact this is what happens we are first taken through the most distinct memories of the character from his life from the moment he was born to the moment he dies, which is important as a backdrop to the story to be able to understand where the characters are coming from and why they are the way they are. We get to see the tragedy that struck these 2 siblings when they were little, the incredibly strong and sometimes complicated relationship between brother and sister, the blood bond they made when young to never leave each other even after death which explains why Oscar's soul refuses to leave this world and continues to linger there, despite being unable to help the people in his life and to only be able to observe their circumstances that get worse and worse from the moment he dies. Throughout the movie we are experiencing in both a detached and highly intimate way the drug-fuelled, alienated lives of these people in the neon-heavy city of Tokyo. Detached because most of the scenes are seen from a plain above, with Oscar's soul jumping from room to room crossing buildings roads and spaces, restless and for the most part purposeless. But also highly intimate as seen in times when not only is he observing the actions of these people but gets inside their head and is experiencing in a way what they're experiencing. After an often nightmarish and heavily haunting trip into the city of Tokyo, the audience finds some relief in our character's soul finally settling in Linda's baby with their friend Alex, after searching through possible reincarnation routes of couples having sex in the LOVE hotel (the existence of which hotel isn't necessarily real and could just be symbolic of the act of love in all its various forms conducted by the characters in the film. The love making scene between Linda and Alex is seen as almost a magical experience, and when Oscar's soul gets a glimpse of what his life could be within that family he decides to reincarnate in that way and is transported through the bodies of his soon to be parents to the level of sperm-ovum fusion. The movie finishes its void-like run with the most intense and lively of moments – the birth and first moments of this baby into the world.

While this movie starts with a promising storyline and a character that while not always likable (and quite self-absorbed for the entirety of the film), still has interesting thoughts on the American way of living and an incredible craftsmanship, it soon leaves you with disdain about this character and the interest that had been developed in the 1st hour of the movie soon turns into a drag, leaving you feeling frustrated about why these characters are being silent towards the father's reckless and almost-deadly treatment. The father turns from a man with a vision of building a civilisation from scratch into a man obsessed with not abiding to any form of current civilisation and living. He drags his family through dangerous situations for the sole purpose of making a living based on his narrow-minded view of how humans should live life. And while this could still make for an interesting storyline, the sole outcome of the terrain his family experiences is that with his sudden passing, they can now be free to live life the way they want to – a somehow unsatisfying final outcome when you consider the ordeal these people had to go through.

This movie benefits from its sweet and sensitive approach and mainly from Lili Taylor's incredibly likable performance. I absolutely root for this girl and wish I could have a real-life friend like her. The enthusiasm by which she talks about most things, her aspirations in life, even the music she listened to where reasons to fall in love with this character. Unfortunately, I can't say the same about River Phoenix's character, a character I felt unable to empathize with as you do not get a true explanation as to why he'd previously behaved so callously, you do not get a big enough insight into his character, something to show his humanity, his fears, ambitions or insecurities. And I think that is because while Rose is such a driven and opinionated young girl, Eddie's character is the exact opposite, a guy frustrated with his situation for a reason he himself can't really explain. This makes their romance believable however, as you can see Eddie's attraction towards this girl's optimistic and at the same time strong aura. When their date comes to an end however, Eddie seems to choose to forget about this encounter and return to his previous life of bullshit-loaded tomfoolery, in a way a protective mechanism when entering the world of blood and horror that was Vietnam back then. He returns from war, having potentially lost his mates, seeming somewhat changed (if that) and enters Rose's café to see Rose again, hugging her and remembering that one night of pure sincerity in an otherwise bullshit-filled way of living.

This movie is a perfect example of the importance that a director has on a film and the way the film will turn out. Gus Van Sant's erratic, hilarious and creative storytelling of a gay narcoleptic hustler is one of a kind in the sense that you rarely witness a story being explored in such a unique way. It is important to note that the narcolepsy our protagonist experiences, together with a short-lived childhood and rough situations lead him to a scattered, direction-less existence. This is portrayed incredibly well by Gus' direction and Phoenix's performance, as Mike's life is reflected by the fragmented and hazy nature of the film itself. Being narcoleptic, Mike has no chance of leading an ordinary life, as these bouts of sleep leave him powerless, in the hands of nature and others, and it is apparent that at some point he stops caring about where he will end up next or where he will be in a day, month or year. Instead, Mike's only able to live hour by hour, hustling from one guy to the next, not really sure whether a particular event has truly happened or if it is one of his many dreams. It is a strange and touching story, told in an even stranger and incredibly refreshing and original way: The magazine poster guys talking to one another, sharing thoughts on life as a hustler, sexual acts depicted through still erotic poses of the participants, and above all Bob, a character who is both a pathetic, fat thief and a spiritual, guiding poet. The kids: One of the most entertaining aspects of this film is delving into the lives of these hustlers, listening as they share their traumatic experiences with a sincere honesty and optimism, watching as they celebrate the life of their teacher and friend, Bob the Poet, by yelling and jumping and going wild; these kids were full of life. Mike: Michael's character is potentially the most vulnerable character I have seen on film; this person has no choice but to surrender to the hands of whoever happens to pass by as he goes through life in a state between reality and dreaming, never truly aware of where he is or when he wakes up. It is incredible to see Phoenix portray this complex character, one who does not seem to have any direction in life but one who longs for some kind of intimacy with someone, a highly ironic take on the fact that he supports himself by sharing intimate physical moments with strangers. Mike is often found talking to himself, lost inside his own head. He sees clips of himself with his mom dancing and visualizes these isolated wooden houses when he goes under. He has a deep urge to find his mom and with the help of his best friend he tries to locate her, finding himself falling in love with this guy and getting his heart broken when the guy falls in love with another girl instead. To see a guy that does not confide much about himself be so exposed and so vulnerable and express his love for this guy in such a fundamentally human way, to see him try to hug the person that is trying to undress him, longing for some kind of true intimacy with a human being; these little peaks into the soul of this kid that is most often seen lost in his drug-influenced mind are what make this film so immensely beautiful. One should not fail to mention the humor of this film, with scenes like the prank on Bob and the other thieves, Hans performing his outrageously bad one man show while holding a lamp. These scenes play an important part in the film as they give realism to the story, instead of the director and screenwriter opting to dramatize the already-dramatic lives of these young adults. It also shows the spirit of these kids, a spirit indestructible that manages to laugh at times like this and not take itself too seriously. Idaho signifies a special place for our character, a place he returns to every time he falls asleep, and a place where his fondest earliest memories exist. It is also the place where he'd shared a road trip with his best friend and where he'd confided his love for him. This road will never end, our character says, signifying both the endlessness of his situation as a narcoleptic hustler and on the other hand a sense of safety in this familiar road, and this is depicted in the very last scene of the movie, where Mike gets picked up by a stranger or possibly his close friend after being robbed by 2 others.

There is no questioning the significance of this film, describing a period in time and the way society was during that time, but what has amazed me, the second time viewing it, is the purity that characterizes this movie, and in particular its 4 main characters. This movie is so smart in describing the complexities of the minds of four young teens, how their nature and nurture has shaped them into the personalities they now carry, and how these traits and characteristics are influenced and changed themselves throughout moments in life, and by interacting with others. There is almost a post-war melancholy lingering over the air in this town of Oregon, Portland where these four kids happen to live in 1956. This group of friends bond over the support and comfort they find in each other, being 4 kids trying to survive in a period of their lives where everything is so intense and confusing, and where they've found themselves pretty much on their own, without the support of their families. The bravery of these four kids (and yes, even Vern's) inspires me, their willingness to plough on and to continually try to make sense of what this world has given them. The screenwriter and director have created incredibly profound and deep characters in these kids, while still not taking away their innocence and youth. When I watch the games they play, the manners they use, I'm reminded of the things I held important in that truly magical time of my life, like the sacred importance of a pinky swear, or the two punches for flinching annoyance. To me this is a story that pretty much any person can relate to, as it symbolizes a period in the life of someone where they felt lost, terrified, completely isolated, but not defeated. The need that Gordie feels to find the dead body is essentially a need to make sense of it all, of the things that happened in his life; why his brother had to die, why his dad never seemed to show any interest in him, why he felt he would never be able to amount to anything. These four kids are oppressed in a society that treats them with indifference and where they're victims of incessant bullying, and through this journey, they are able to fight through those feelings by exposing themselves to situations that push them to the brink and essentially, make them face those emotions of injustice head on. When I compare the world that these kids live in to the one my generation lives now, one thing remains the same: it is exhausting a job to try to make sense of everything that is happening around you. And in a world where nothing seems to be right and within your control, these kids find a mission that makes sense to them, one simple adventure that no one can take away from them, something that is within their control. And through this simple plan that only they have thought of, through this journey outside the confinements of this empty town they were brought up in, they could find the strength to face their deepest fears and to be the most vulnerable, in the company of true friends, where no real judgement and mockery can be found. Not all of these 4 heroes ended up truly succeeding in life, and that's okay because the truth is few of us will ever reach a true sense of achieving in life. But just like the narrator of this story, as long as we are able to remember that period in our lives that was the toughest, yet the most magical and intense period of our youth, as long as we find people to share a trip to the woods like these teens did, then we will capture a moment, a moment in our lives that was shared and experienced with certain souls that will never truly go away. And maybe a life filled with moments like these will truly suffice.

A superbly-acted, well-written story about a family on the run after the parents stage an explosion in a napalm producing factory. This is an unconventional story and one not so often written for film and TV. In this story, we see our characters having to deal with the soul-destroying nature of having to leave town every so often, never really being able to set roots anywhere, leaving them as outcasts of society, with only each other to lean on. At first one may think that these parents must be extremely selfish and uncaring to inflict such pain on their children, a life where they'll never be able to truly bond with anyone or make something out of their lives. Throughout the course of the movie though, we get to learn a few things about them that show us how much these parents truly cared about their children and the regret they were filled with for the fact that their children were the ones that had to pay for the choices they made in life. These parents were true revolutionaries in my opinion, even if their act of rebellion and defiance to the constitution of war and the atrocities that were occurring in Vietnam was never significant enough to spark a true change in society. In a way, them leading a fugitive-life is reflecting of their refusal to obey to the capitalistic and exploitative way in which the world is run. One thing that remains true however is that fear that would leave them awake at night, the thought that would creep up despite them trying to suppress it and live life day by day, hour by hour: what about our children's future? How are they ever going to have a chance in doing something in life? How will they ever be able to follow their passions and dreams, and have we denied them of this chance in life? Danny is a reserved and polite kid, always in motion and always passing through situations and people unnoticed, not really leaving a mark anywhere or sharing anything of significance to anyone. With the love for piano being the one thing that has been consistent in this vagabond –like life, he impresses his piano teacher and in doing so, gets to meet the teacher's daughter, whom he will eventually fall in love with. And it is understandable why he'd do so as this girl truly is such a witty, charming and sincere individual, someone that manages to confront him and push him into opening up to her, something he never even thought possible with anybody else. This relationship between the two sees a change in Danny's demeanor, who is now finally excited and scared about things like applying for Julliard College, meeting his grandmother and confiding his family's secret to this girl. And here comes the greatest part of this story, the one that makes it a story worth watching: The decision the parents decide to make of allowing their son to stay behind with his grandfather, all the while knowing they probably would never be able to truly contact him and would have limited information as to how he was doing. In this way they fulfill their wish that their actions in life of trying to make a change would not prevent their sons from following their hearts and leading their lives the way they would want to. In a world that had isolated this family, leaving them with no choice but to find the support they need by staying as a unit, letting go of that integral part of their unit must be the hardest and most courageous thing for a parent to do and these parents make that sacrifice so that their son can have a go in trying to achieve something significant like they attempted so many years ago. This very sacrifice and the bond this family shared is beautifully depicted in this subtle and smart film and will be one that will stay in the minds of its audience.