Bombshell (2019) film review

Year: 2019
Running Time: 109 minutes
Director: Jay Roach
Writer: Charles Randolph
Cast: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon, Connie Britton, Allison Janney, Malcolm McDowell, Josh Lawson, Ben Lawson, Liv Hewson

Bombshell opens in cinemas around the country on January 16, 2019 thanks to Studiocanal.

Jay Roach's Bombshell is the award season movie that is far from flawless, but the emotional punch it delivers and extraordinary performances by the leading ladies are enough to make one overlook it's sins. It is a film that feels as though it has been sugar-coated visually, but at the same time balances itself out with hard-hitting topics that will trigger many. The scandal at Fox News involving Roger Ailes is shocking by nature and the film could easily have relied just on the story for impact, but Bombshell ventures to be more than a film based on a shocking story and manages to get it right more often than not.

In what is a very left wing film about the infamous right wing television network, Bombshell is a film that will stir up confusing emotions in many people. Earlier last year the Showtime mini-series, The Loudest Voice chronicled the life of the larger than life founder of Fox News, Roger Ailes. The show earned incredible critical acclaim with Russell Crowe winning the Golden Globe for playing Ailes and indeed looked at the sexual harassment claims made against him, which were led by Fox and Friends co-host, Gretchen Carlson (portrayed here by Naomi Watts). Unlike the television series, Bombshell is a film about sexual harassment in the workplace with a focus on the women affected.

For those of us who are already angry at Fox News on close to a daily basis, Bombshell will do a great deal to encourage that anger. The film goes as far as to say that even people who work for the network are only there because no one else would hire them after they work for Fox. The Fox News painted here is an evil workplace that strives on scandal, both on air and off. The women are all instructed to wear as short skirts as possible when on air and are expected to laugh along while their male co-hosts make jokes (often sexist) at their expense. As we see at the beginning of the film, this also includes the then Republican Presidential candidate, Donald Trump, accusing then Fox darling, Megyn Kelly (incredibly portrayed by Charlize Theron) of "anger-menstruating". She is instructed not to retaliate, as it would not benefit the network's relationship with the Republican party. The overall negative view we get here of Fox News is extremely one-sided, but is also shrouded in truth.

The 2016 scandal involving Ailes was one of the first reported high-profile cases of ongoing sexual harassment in an entertainment based workplace. It is nothing short of horrific the rippling effect that these incidents had on the culture of the workplace and the individuals themselves. Bombshell brings to the forefront many of the toxic features of an environment where these events are taking place. It is shocking to see how these events are not only turned a blind eye to, but that they are also accepted as part of the culture and even quietly supported by other women who want to please their male superiors.

One of the questions that is often asked when people come forward with their stories of sexual harassment in the workplace is why they did not report it when it happened, and Bombshell certainly does not shy away from the answer to this question. Gretchen Carlson (played by Nicole Kidman) begins her journey to expose Ailes (John Lithgow) by herself, with the hope that others will come forward with their claims to support hers. Inside Fox, there are sharp whispers of women coming forward and the women in question are pounced upon with quiet threats of trouble if they do not support their boss. There is much to be scared of including loss of promotions, ostracization and even loss of their position in the company. The road to peace from sexual harassment is not a straight or smooth one by any means, as is demonstrated here. The emotional impact on the victims is also a very hard watch in this film. Margot Robbie plays Kayla Popisil (a young women who has grown up in a family who watch Fox News religiously), who is the subject to Ailes unwanted advances when she expresses her desire to progress further with Fox. Her portrayal of a victim of sexual harassment is harrowing and powerful, and shows how such an event can change a person and their view of the world.

Bombshell is first and foremost a film about sexual harassment in the workplace and second of all a film about the Fox network. Viewers of Fox will also be angered by the film, but not in the same way as those who are not fans of the network. Again, Bombshell does not paint the Fox environment or personalities in a good light, but one cannot deny that the characters are expertly cast and played. Charlize Theron completely disappears into her character of Megyn Kelly, and credit must be given to the hair and make-up department for making her look so incredibly similar to Kelly. However, it is not just the visuals that make Theron into Kelly. She completely personifies her in voice and mannerisms, as well as turning in a perfect amount of emotion and strength. Nicole Kidman also is terrific as Gretchen Carlson, a personality she already physically resembles and does not rest on this as the driving nature of her performance.

The downfall of Bombshell is that it tends to hover in between a Saturday Night Live episode and The Big Short. Roach employs several of the film-making techniques that Adam McKay used in his 2015 film, but with nowhere near as much ease and success. The editing of the film is irritatingly choppy throughout and several scenes could have been done without. It is a film which is rich in pop culture, which given the opportunity here means it can be a bit of fun and is given a bit of a glamorous exterior, meaning lots of beautiful women in beautiful clothes. These features almost fly under the raider, which is a good thing as there should be nothing fun about a film about sexual harassment.

The unfortunate truth about Bombshell is that considering it is a film about the victims of sexual harassment in the work place, it would have benefited from having a female director. Roach does a very good job with the film, but as this is a film about women, there was the opportunity to have had someone at the helm who could bring even more sympathy and perhaps even experience to the film. Nevertheless, Bombshell does captures the seriousness of the issue of sexual harassment in the workplace and through it's incredible performances, stirs emotions within you that make it hard to forget.

7/10

Spies in Disguise (2019) film review

Year: 2019
Running Time: 102 minutes
Directors: Nick Bruno and Troy Quane
Writers: Brad Copeland and Lloyd Taylor
Cast: (voices) Will Smith, Tom Holland, Rachel Brosnahan, Ben Mendelsohn, Reba McEntire, Mark Ronson, Carla Jimenez
Spies in Disguise is now in cinemas everywhere thanks to Walt Disney Studios and 20th Century Fox.

Spies in Disguise is a typical action-thriller starring Will Smith as a special agent, but with a plot so ludicrous that it could only be an animation. However, this film by Nick Bruno and Troy Quane is an absolute comedy riot with the suspension of disbelief that animation provides. While it does not prove to be a family film that will definitely stand the test of time, Spies in Disguise is a solid effort that works as, but not far beyond, a silly, basic comedy with some very amusing animal characters.

A film about an underestimated tech officer in a top secret agency turning the world's most successful spy into a pigeon would have been a hard pitch to make in Hollywood. The one sentence summary itself  both manages to combine the cliche of the unlikely team working together to save the world and also an idea so ridiculous that couldn't possibly be carried forward with any seriousness. Lance Sterling is the spitting image of Will Smith, the man who lends his voice to the character, with his tall, mysterious and handsome demeanour, while his unlikely partner-in-crime, Walter (voiced by Tom Holland) is about a foot shorter by animation standards, awkward and invisible by comparison. This mismatched protagonist combination is ridiculously overdone and basic, and Smith and Holland are consequently playing themselves.

Thankfully, in an accidental effort to disguise Sterling and protect him from being arrested for a crime he didn't commit, Walter turns him into a pigeon. Had Spies in Disguise not have taken this turn and not included these common birds of a feather, it would have been a very dull film and would not have appealed to the family demographic at all. Unfortunately, even with these hilarious birds, there are still many parts in the film which young children will find dull and will lose interest.

There may only be one talking pigeon in this film, but the other pigeons provide many comedic moments. Spies in Disguise brings to light certain parts of a city pigeon's personality making them seem a great deal more amusing than how they are usually perceived. It is no coincidence that Walter's favourite animal/bird just happened to be a pigeon. Pigeons are birds which are often not taken much notice of and dismissed or ignored frequently. More often than not, they are treated as pests. For this reason, they are birds which are perfect as secret agents or as a character on the run as their intelligence is underestimated and they can sneak through places unnoticed. Of course, how many times have you seen a pigeon in a mall or a fast food restaurant? It's amusing, but you never believe they really know what they are doing there. Spies in Disguise makes you question this thought.

Writers Brad Copeland and Lloyd Taylor have done a wonderful job of looking at all the ways the pigeons could bring the laughs to the film and have succeeded. The humour is wound tightly around an otherwise mediocre screenplay and this makes Spies in Disguise a solid holiday film. The downfall of these pigeons being so entertaining and amusing is that they are make the human characters of the film look even more dull and unforgettable. The animation is well done, but the human characters lack the originality and emotional punch to allow this film to make a real impact.

Spies in Disguise is fine as a school holiday film, but it is unfortunately not one that will keep children enthralled for it's entire run time. The star of the show are the pigeons, which is highly unexpected, even though it is definitely welcomed.

6.5/10

Knives Out (2019) film review

Year: 2019
Running Time: 130 minutes
Director/Writer: Rian Johnson
Cast: Daniel Craig, Chris Evans, Ana de Armas, Christopher Plummer, Jamie Lee Curtis, Toni Collette, Michael Shannon, Don Johnson, Katherine Langford, LaKeith Stanfield, Jaeden Martell, Riki Lindhome.

Knives Out is now showing in cinemas everywhere thanks to Studiocanal.

Rian Johnson's murderous affair, Knives Out is a return to the glory days of the whodunnit. With it's atmosphere of dread and intrigue combined with a spectacular cast who all deliver captivating performances, Knives Out is a reminder of how much fun cinema can really be when everything comes together with perfect timing.

Knives Out feels like Johnson's tribute to Agatha Christie's Hercule Poirot stories. In particular, the film follows the formula of Murder on The Orient Express with it's grand cast and their intriguing and colourful characters, each with a motive for committing the cruellest of crimes. The location here, which is incredibly important in such a story as it needs to have just as much character as the humans, is the exquisite, atmospheric and often quirky Massachusetts manor of bestselling author, Harlan Thrombey (Christopher Plummer). After his untimely death following his 85th birthday party, private eye Benoit Blanc (Daniel Craig) is called in to investigate his death. Even though the easiest conclusion to make about the cause of death is to rule suicide, Blanc believes that one of the family members has something to hide and that Thrombey's death is the result of creative foul play.

The film is a rare type of multi-layered mystery. It plays very much on the idea of things aren't always as they seem and even when you know that things aren't as they seem, how they aren't still remains a mystery. There is a certain level of predictability to Knives Out, but at the same time, it manages to be unpredictable from another angle.

However, it is Johnson's storytelling that is the keeps the film flowing and intrigue high despite whether it is predictable or not. The screenplay is airtight with extremely witty and entertaining dialogue. This characters are all unique and, despite the astounding situation, are relatable as far as personalities in big families go. No family gathering involving money and alcohol is ever a quiet event when there are clashing personalities the way there are in Knives Out. There is no doubt that in the film that Harlan's nurse, Marta (Ana de Armas) is perhaps the purest of souls and has the bad luck of being involved in situations beyond her control. The other characters have large personalities and have all been tainted by Harlan's money, which in turn has made them all dependant, greedy and, to an extent, bitter. Each has a motive to kill, but it is the journey of getting to know each of the characters and laughing at their qualities that makes Knives Out as fun as it is.

The stellar cast give their all when bringing these highly entertaining characters to life. Again, the film is very much like an Agatha Christie novel with Daniel Craig leading as the famous Benoit Blanc. He is indeed entertaining and full of life, but it is Ana de Armas as Marta who the film revolves around and she is such a gentle and endearing leading lady. She immediately earns the audience's love and respect, which is consistent throughout the film. Chris Evans gives new life to the stereotypical spoilt rich kid-adult as Ransom and, like any narcissistic character wishes to do, is the star of every scene he is in with his impeccable timing and enduring sarcasm. He is a fantastic presence in the film and undoubtedly an audience favourite. Michael Shannon, Jaime Lee Curtis and Toni Colette are all also extraordinary characters, who unfortunately don't receive as much screen time as the previously mentioned.

Knives Out brings back the lost art of making the murder mystery fun. With it's individual form of black comedy and host of brilliant characters, it is a film that transports you into a wild world of family turmoil that has never been so enjoyable.

8.5/10

A Star Is Born (2018) film review

Year: 2018

Running Time: 136 minutes

Director: Bradley Cooper

Writers: Eric Roth, Bradley Cooper and Will Fetters

Cast: Bradley Cooper, Lady Gaga. Sam Elliot, Andrew Dice Clay, Rafi Gavron, Anthony Ramos

A Star Is Born is now showing everywhere thanks to Warner Bros Pictures and Roadshow Films in Australia. 

2018's A Star Is Born has a lot to love. In a film that receives ticks for outstanding in many areas, it is a gritty and powerful portrait of two talented people falling in love while also dealing with fame, jealousy and addiction in the public eye. It is a tremendous achievement in both film and music and to say it is a solid directorial debut by Bradley Cooper would be an understatement.

However, the film is problematic and not as a result of the production itself. It's downfall lies in the inherent nature of the film being the fourth cinematic version of A Star Is Born. One can understand why A Star Is Born has been revamped every few decades as it's formula is a winner with movie-goers. Everybody loves a story about a bright young thing who wants more than anything to find fame and fortune, only to find it to not be as it seems. The film and music industry is constantly changing so the film can be completely redone in a new fashion every few decades.

With Bradley Cooper's A Star is Born, we see the focus shifted to the 2018 music industry; a digital age where struggling singer, Ally (expertly played by Lady Gaga) is plucked from obscurity by a country music star, Jackson Maine (Cooper), who see's something in her that others have not. Again, it is a story that is easy to get excited about as society loves tales from the world of entertainment. It also has the inspirational element for people like Ally, who are struggling to find success and the takeaway from the film is that that success can come when you least expect it as long as you take every opportunity you can. Ally's first live performance of "Shallow" is a perfect depiction of a dream coming true in slow motion. The song, which is a sure thing for an Oscar nomination, not only shows two people falling in love thanks to the power of music, but it is a pivotal moment of the film and everything comes into focus and shows how every little detail of a dream coming true is important.

Yet, the 2018 film has it's problems that the earlier films did not and it is because of the changing times that we can see these problems. A Star is Born suffers from a severe lack of female characters, with Lady Gaga's Ally being the only real female character besides the stagehand, Gail who appears for two minutes. Neither Ally nor Jackson have any females in their families. Ally's whole life is governed by men...in her family, in her job, in her marriage and in her career. In addition to this, the narrative (which has been inherited from earlier films) means that she has a man to thank for her career as Jackson was the one who gave her her break. Her manager, Raz Gavron (Rafi Gavron) also controls her solo career and her rise to fame.

To call 2018's A Star Is Born sexist would be far too simple and a compulsive conclusion to jump to. There are definitely sexist elements. For example, there is no reason Ally should be the only female character of worth. However, it is a credit to the film that they do include gay and transgender characters. Yet the sexism of the narrative is a different matter. There is the idea that Jackson may be able to help propel Ally to stardom, but who is actually the strong one? She is strong to stand beside him in his weakest moments, be his rock and stand up for him when no one else will. So if it is a relationship of give and take, is sexism really part of it? Or is the career aspect of their relationship sexist?

Then there is the other unfortunate part of the narrative which is perhaps an unintentional, but nevertheless unsettling representation of the entertainment industry. Despite the fact that we are living at a time where the industry is experiencing the effects of the #metoo movement, there is a long way to go as the business of both music and film has been run by men for so long. We see in A Star Is Born how all the music executives and decision makers are men and while from the outside this looks horribly sexist, it is an unfortunate reality which is in the process of being changed and still has a long way to go. This is not something someone watching the 1937 version of A Star Is Born which focused on Janet Gaynor's Esther wanting film stardom would have even considered as a notable part of the film, as it was just an accepted part of the industry and seen as normal.  However, current events have made us see things differently. Cooper could have adjusted this, but would it have been realistic if he did?

Despite these inherent problems, A Star Is Born is still a superb film that is emotional and hard-hitting. It does not shy away from the destructive nature of addiction and shows in graphic detail how it impacts the individual and their family. Cooper directs himself flawlessly as he gives a believable and gritty performance of not just a star in trouble, but a man who feels helpless and ashamed within himself. Lady Gaga gives a performance which many will see as reflective of her own rise to fame, but her Ally is far more than that. She is a woman who many will relate to as she is often plagued by her own guilt of doing what is good for her or what is good for the person she loves, and a woman who cannot help but love someone who does not love themselves. More than that, she turns everyone who was ever on the fence as to whether they are a fan of her as a singer into a true fan with her outstanding and memorable live performances throughout the film.

A Star Is Born is it's own worst enemy at times by bringing forward the problems of the entertainment industry and it's original story, which Bradley Cooper would have felt an obligation to remain true to. Yet it is hard to hold too much against it when it truly is an incredible and memorable film for everything it does so right.

8/10

The Big Take (2018) film review

Year: 2018
Running Time: 83 minutes
Writer/Director: Justin Daly
Cast: James McCaffrey, Ebon Moss-Bachrach, Zoe Bell, Bill Sage, Dan Hedaya, Robert Foster, Oksada Lada

The Big Take has a limited theatrical run at Cinema Village in New York City from September 7-13. Available on DVD and Digital on September 4.

Justin Daly's The Big Take is an intriguing, thrilling and original piece of cinema that is mesmerisingly atmospheric and an exceptional debut film from a filmmaker who is not afraid to take courageous creative chances.

At the centre of an elaborate plan by Vic (Slate Holmgren) to get money to fund a film by screenwriter, Max (Ebon Moss-Bachrach) is Hollywood actor, Douglas Brown (James MacCaffrey). Brown is under the impression that he is being blackmailed in order for a damaging video of himself not to be shown in public, but he is really part of a crazy scheme by Vic to fund a film and make himself a producer. However, Brown has access to people who can easily discover who Vic and Max are and when a visit by private investigator, Frank Maniscalpo (Dan Hedaya) to Max and his wife, Oxana (Oksana Lada) goes horribly wrong, things start to turn nasty for everyone involved. 

The Big Take  is a highly impressive directorial debut by Justin Daly. It is evident that he has a strong sense of who he is as a filmmaker and is uncompromising in the execution of his first film. Daly's style of direction is not unlike that of a younger Quentin Tarantino as The Big Take has an atmosphere reminiscent of that of Pulp Fiction. However, the screenplay (also written by Daly) cannot be compared to the 1994 film as it is a highly original piece of work. 

It's creativity in the darkly comical narrative allows for a heightened sense of suspense and unpredictability which is supported by a soundtrack that not just enhances the atmosphere, but excites and intrigues. The reason it is so intriguing is that types of music are matched with landscapes that it would not usually be associated with in film (such as reggae accompanying the image of a motorcycle on the streets of Los Angeles), but unexpectedly works so well.

It's flowing dialog is superbly written for the screen and delivered with ease by the impeccable cast. Ebon Moss-Bachrach as the unassuming Max who is the star of the film. James MacCaffrey's Douglas Brown is the Hollywood stereotype which people love to hate right from the word go, but Max is the underdog who could be the real hero of the film that everyone barracks for. He is the relatable writer trying to make his way in the tough world that is Hollywood and trying to get people to take notice, so when trouble in the form of attention comes his way he doesn't question it. Zoe Bell is also a standout as the girl who is way scarier than she initially seems, Edie.

The Big Take explores the side of Hollywood where people will do absolutely anything and question nothing to finally get their big break. Justin Daly breaks into the filmmaking scene with incredible power and is without a doubt one to watch in the future.

8/10

Black Panther (2018) film review

Year: 2018
Running Time: 134 minutes
Director: Ryan Coogler
Writer: Stan Lee and Jack Kirby (based on the Marvel comics by), Ryan Coogler and Joe Robert Cole (written by)
Cast: Chadwick Boseman, Michael B. Jordan, Lupita Nyong'o, Danai Gurira, Martin Freeman, Daniel Kaluuya, Letitia Wright, Winston Duke, Sterling K. Brown, Angela Bassett, Forest Whitaker, Andy Serkis

Review by Debbie Zhou

The Marvel Universe has often plodded through a predictable chain of movies, but in comes the newest addition, Black Panther – a triumphant wake-up call to the primarily white-casting of the superhero genre. It marks a step in the right direction for Marvel, right off their more playful and thoughtful efforts with ambitious filmmakers, such as Taika Waititi in 2017's Thor: Ragnorok. This time, there's a more serious approach at play, and director Ryan Coogler confidently takes the reins with a wholehearted embrace of African cultures and experiences, and empowers his protagonists with agency and a unique story.

Black Panther places T'Challa (Chadwick Boseman) as the newly-appointed King of the African nation, Wakanda, following his father's death. As King, T'Challa is given the powers of Black Panther, deriving from the alien metal vibranium. This special metal is engineered into the entire country, providing them with ultra-modern advanced technologies which enables the population to power their cities – that not even “progressive” Western first-world countries could imagine.

This is a vision of Afro-futurism in its sheer beauty. The scale of Coogler's invention onto the Marvel stage derives not only from the epic landscape and technological wonder of Wakanda, but his meticulous attention to detail. He focuses on the smallest elements which evoke a sense of identity to the Wakandan people – down to the intricacies of African dress, rituals and music (the heavily-percussive and vocal score by composer Kendrick Lemar stands out); it ultimately fuels a prideful connection to a culture that we are rarely gifted the chance of seeing on our screen in such magnitudes.

And there are some fantastically crafted sequences that come from this total encompassing image of diversity, crafted by Rachel Morrison (she is the first female Oscar-nominated cinematographer). The action sequences are shot with rapid intensity, and in particular – a casino scene stands out in its fluidity, through its use of tracking shots. Here, the female protagonists, Nikia (Lupita Nyong’o) and Okoye (Danai Gurira) , are empowered through their fierce movements – the framing and focus of the story becoming integral to fully owning their characters as T’Challa’s true allies and warriors. Shuri (Letitita Wright), T’Challa’s younger sister, is also a nice addition to his circle – whose innovation and intelligence powers the use of vibranium in astonishingly new ways.

The story's antagonist is Erik Killmonger (played by the always reliable Michael B. Jordan), although Klaw (Andy Serkis) sets the stones for the brooding villain to step his feet into Wakanda. But in this Marvel story, T’Challa’s sole dilemma is made more complex: it doesn’t derive purely from a need to defeat a villain, he also faces the challenge of living up to his Father’s legacy and questioning whether change is necessary.

Killmonger is one of the more interesting villains Marvel has created, and Coogler actively attempts to reflect the underlying social and racial problems of America through his character. By incorporating the African-American experience, there's a bitter anger that dictates Killmonger’s actions; the exclusivity of vibranium means that those marginalised in other societies cannot access it. But while the contextual settings hands him over the perfect justification for his acts, Killmonger is quickly tossed to the side as a one-note villain (a Marvel trope) in the third act – where his actions become tyrannical, and his unreasonable abuse of power makes his personality lose nuance and authenticity.

Still, with Black Panther – Coogler has presented us with a section of the Marvel universe that reduces its white characters into supporting roles and instead, elevates its black protagonists on a platform which enables them to fight for their beliefs and their cultures. And for that ground-breaking act, it is most likely the best Marvel film yet.

7/10

Clarity (2017) film review

Year: 2017
Running Time: 105 minutes
Director/Writer: Peyv Raz
Cast: Dina Meyer, Nadine Velazquez, Tony Denison, Maurice Compte, Dana Melanie, Lourdes Narro, Geovanni Gopradi

Clarity will be available on DVD and VOD on August 22 2017. 

Peyv Raz's Clarity is an extremely impressive feature film directorial debut which is intense, thought provoking, meaningful and incredibly important in so many ways with a truly explosive finale. 

With it's tale of two world's colliding to save one girl's life, Clarity deals with many issues and themes on social, political and emotional levels. What begins as a film that looks like it could be light and fluffy with a feel good ending, deceives everyone with it's dramatic tension and ability to make you question the things you believed you always had an answer for.

Clarity is extremely well crafted from the very beginning with it's visual comparisons of a privileged life in Las Vegas as opposed to the simple, but harsh and hazardous conditions of rural Mexico. This comparison is one that is vitally important to the story, as the film is undeniably a tug-of-war of love and power between 20 year old Maggie's (as portrayed by Dana Melanie) adoptive American mother, Sharon (Dina Meyer) and her Mexican birth mother whom she was stolen away from, Carmen (Nadine Velazquez). In other words, it is the age old battle of higher and lower socio-economic classes taking place, but in the name of love for a girl both women love and care for with all their hearts. The terrifying social issue of human trafficking is here seen in the most personal of ways and shows the awful effect it has on the parents left behind.

This struggle is one that is evidently one-sided at the beginning of the film, as Sharon holds the upper hand by tracking down Maggie's birth mother and reuniting the two. It almost seems deceitful, as we know her intentions are not quite as simple as they seem, but makes you question what you would do in her place. It is a mother's love that makes her behave the way she does, and the intensity of a mothers love can often neglect rhyme and reason.

This power tends to shift throughout the film, and this is when Clarity takes an intriguing turn. The second half of the film is superior to the first half thanks to it's unexpected twist, unpredictability and outstanding performance by Nadine Velazquez. Velazquez commands every scene she is in and her strength of character is magnificent, especially in the way she changes so greatly in a way that still remains believable and truthful.

However, it is the finale of Clarity that lingers long in your mind. It is completely surprising, but also shrouded in the most gratifying sense of mystery that brings out the cleverness of Raz's screenplay.

Clarity has the ability to make you challenge your beliefs and see a horrendous, layered situation from two equally important sides. A film which is as important as it is captivating and entertaining.

8.5/10

Clarity - Trailer from Peyv Raz on Vimeo.

EXCLUSIVE interview with "Watch the Sunset" director and actor Tristan Barr

Premiering at this year's Revelation Perth International Film Festival, the thrilling Watch the Sunset is the first Australian feature film to have been shot entirely in one take.

 Directed by Tristan Barr and Michael Gosden, Watch the Sunset is a film that follows a young man, Danny (also played by Barr), who is trying to make a fresh start for he and his family away from the life of crime he was once part of. The film is a brutal study of the underlying effects of Crystal Meth or Ice, but at the same time is a love story about how far you will go for family.

 Watch the Sunset is superbly shot in one take and is done so with incredible directorial skill and stunning cinematography. The haunting musical score accompanying the film is completely unnerving, but it is the convincing performances by each member of the cast that make Watch the Sunset a confronting, but incredibly rewarding cinematic experience.

 On the eve of Watch the Sunset's World Premiere at the Revelation Perth International Film Festival, we spoke to Tristan Barr about his experience making the one-shot film and how it compares to traditional filmmaking.

 Firstly, congratulations on being part of the Revelation Perth International Film Festival! You must be very proud and excited!

Thank you! We are happy to start getting it out there.

 Watch the Sunset is primarily about the violent effect of Ice/Crystal Meth and how it is becoming a bigger and bigger problem in today's society. What made you decide that you wanted to make a film about this terrifying social problem?

The story was based on true events and the characters on real people whom I have personal experience with which stirred me to write the concept. So the biggest appeal or motivation was bringing light to their story that is a very raw reality in regional Australia. It's actually a love story at heart.

 What type of research did you do on users and their families before the film? I could imagine it would have been rather confronting....

Heaps of research, interviews, reviewing of court cases.... Sometimes tedious work, but once we uncovered some stuff, we just knew it had to feature. Some stories are unbelievable! If you made films about some of the stories we came across an audience just wouldn't believe them. I couldn't sleep for a period in pre-production.

 If you don't mind me saying, Watch The Sunset is truly incredible. It's unlike any other one-shot film as it takes place across a whole town without editing. What was the pre-production like? How much rehearsal was needed in preparation for the day of filming?

2-3 months of rehearsal. The town was incredible! Kerang (regional Victoria) was incredibly supportive and some of the best darn country folk in Australia. We were actually overwhelmed with the assistance we received and it was up to our production manager, Ally Bjørnstad to set over 80 locals in position every day who volunteered their time for the shoot. I’m so grateful to the community and patience they had with us. The film moves from one side of the town to the other and stops at about nine locations, so we are just glad we were able to utilise the whole of the town with their support. I was just hoping it would all come together, and thank God it did. I didn't want to let down all who had helped us.

 As it is filmed across a whole town, there must have been so much so much planning to keep everything running to plan. Was there anything that went wrong while filming that you had no control over?

There was plenty that went wrong that you'll never know of (laughs). Maybe we'll release some Behind The Scenes. One time a police car pulled us over in rehearsals. That would of made for an interesting addition in the actual film.

 What was the hardest part of making a one-shot film? 

Logistics. Timing. And having to compromise. Sometimes there was better cinematography in some takes and sometimes there was better performance. Choosing the take was very difficult.

 Tristan, you also star in the film as Danny, who is the lead. Was it difficult directing and acting in the film?

I didn’t see myself in the role originally when I first wrote the concept. But with the constraints we had and the way in which we were collaborating and improvising for the scripting, we (with co-director Michael Gosden) quickly made the decision we would act in it too. That decision led to us taking more responsibility over the characters and their story arcs. So it was hard to take on both of those roles. However it was sort of built into the process. Once the camera was rolling there was no real room for a director anyway, so the cast and crew were just trusting the preparation.

 What did you find were the major differences between directing a one-shot film and one in which you allow scene cuts?

The need for accuracy and planning of course, but adrenaline was the major difference. It was like we were playing a grand final everyday (laughs) Luckily we had seven attempts at the grand final.

 What plans are there for Watch The Sunset beyond the film festival?

We are playing at the Brisbane International Film Festival and have some interest in Sydney & Melbourne as well as a big international launch.

 To keep up to date with were the film is being shown follow:
https://www.facebook.com/watchthesunsetfilm/
Twitter: @watchthesunfilm
Instagram: @watchthesunsetfilm

Cars 3 (2017) film review

Year: 2017
Running Time: 109 minutes
Director: Brian Fee
Writers: Brian Fee, Ben Queen, Eyal Podell and Jonathan E. Stewart (story by), Kiel Murray, Bob Peterson and Mike Rich (screenplay)
Cast: (voices) Owen Wilson, Cristela Alonso, Armie Hammer, Chris Cooper, Nathan Fillon, Larry the Cable Guy, Bonnie Hunt, Kerry Washington

Cars 3 is now in cinemas everywhere and is distributed by Walt Disney Studios.

Disney Pixar has completely redeemed it's popular Cars franchise, by allowing Cars 3 to be exactly what Cars 2 should have been and goes even further than this.

The third film in the popular Disney Pixar Cars series captures the essence of the original film, but brings to life new, intriguing characters who bring with them important and relatable themes. Cars 3 also surprisingly takes a stand by breaking down gender stereotypes in a quiet, but highly effective way. For this reason, Cars 3 may actually even be superior to the original.

Brian Fee has proved to be the perfect person to take over the Cars franchise from John Lasseter, who co-directed the first two films with Joe Ranft (Cars) and Brad Lewis (Cars 2). Fee and his team of writers have successfully identified what made the first film a success and what gave the second film the unenviable reputation of being known as the worst Pixar film so far. Cars 3 embraces the themes of remembering where you come from and kindness to others that resonated during the first. It also brings back the excitement of the world of high speed car racing that runs parallel to quiet moments of reflection in quiet, rural towns.

However, the Lightning McQueen (once again voiced by Owen Wilson) we meet here is a much different race car compared to the character he once was in the previous films, as he exhibits in the very first scene when he questions himself saying his usual "I am speed" mantra. While he is still regarded by many as a champion, he is falling behind as new and improved race cars are making their way into the competitive arena. He is labelled and ridiculed by many as the old guy, especially by the new and cocky Jackson Storm (Armie Hammer).

It is a situation that will ring true for many. As our world progresses, it is not only sportsmen that are finding themselves in the shadows of younger competitors, but people in any industry. There are new products being developed and people are being made redundant as their positions are being dissolved. What Lightning McQueen reminds us is not to give up without a fight. However, at the end of the day, there is always a Plan B as he finds thanks to Cruz Ramirez (as voiced by Cristela Alonzo).

Disney has always been a champion for strong women in their animated films. What makes Cruz Ramirez different to the strong female characters that have come before her is that she is a girl in the racing world which is primarily a male domain. However, this is not the only that that is ground-breaking about the character of Cruz. She is a trainer who has always had dreams of becoming a racing car, but those around her made her doubt herself by encouraging her not to reach too high.

The beautiful thing here is that her gender is never once addressed. It is never said that she is discouraged based on her gender. This is the right way to break down gender stereotypes in cinema. We have also seen this recently in Wonder Woman , where Gal Gadot's Diana takes it on herself to save the world and is the only female fighting in the trenches. Yet, no one in the film speaks of how she shouldn't be doing these things based on her gender. As both Cars 3 and Wonder Woman prove, gender stereotypes are broken down when they are not directly addressed in the film. Gender equality is achieved when gender is no longer questioned.

Cars 3 is deceptively simple. There is plenty for young families to enjoy with it's stunning, colourful visuals and basic themes, but there are also themes of greater depth built into the story which makes it as important for adults as it is for children.

7/10

Sydney Film Festival: Ellipsis (2017) film review

Year: 2017
Running Time: 85 minutes
Director: David Wenham
Writers: David Wenham, Emily Barclay, Benedict Samuel, Gabrielle Wendelin
Cast: Emily Barclay, Benedict Samuel

Ellipsis made it's World Premiere at the 2017 Sydney Film Festival on Thursday June 8 and will have an encore screening on Wednesday June 14. For more information, please see the Sydney Film Festival website.

David Wenham makes his feature film directorial debut with Ellipsis; an intriguing cinematic experiment that ultimately blossoms into a naturally whimsical and delightful love-letter to the city of Sydney.

To truly appreciate Ellipsis, one must understand the process by which it came into existence. The film was workshopped over a period of ten days and shot over the course of a night. It was a highly ambitious task for Wenham to undertake with his two leading actors, Emily Barclay and Benedict Samuel, but one that has had stunning results. With a broken phone being the only scripted and non-improvised element of the film, Ellipsis is able to embrace the power of the unknown as two young people aimlessly navigate their way around the city of Sydney.

A week before the premiere of Ellipsis at a Q&A with Luke Buckmaster, Wenham expressed that he had particularly enjoyed working with actors-directors over his acting career. In other words, directors who specifically understood how actors worked. It is obvious that in his first turn as a feature film director, this is the type of director that Wenham aspires to be. Leading up to filming, he led Barclay and Samuel on an intense character workshop so that the two were so comfortable with their characters of Viv and Jasper that they has no problems improvising for the entirety of filming.

The two characters meet by chance on George St in Sydney when they collide and Viv's phone is badly damaged. With her phone being repaired, the world and real life opens up for the two strangers as they get to know each other while they together travel through the city to Bondi and through Kings Cross. Day turns to night and the night brings out new characters that aren't there to be met during the day. These characters were also not written into the script and were people who the crew came across while filming. However, there are some moments in the film you feel may have been planned as they are too coincidental or important to the film to be random acts (such as Viv having her bag snatched or Sculptures By The Sea being over).

Whether or not everything was truly improvised and left to chance or not, the path Viv and Jasper take and the places they go make Ellipsis a truly joyous experience. As the two enjoy a night that helps them escape from their reality and enjoy the simple things,  the viewer experiences the sense of freedom they feel and learn to embrace the feeling of letting anything happen. Viv and Jasper's conversations are natural, engaging, unforced and often sweetly amusing, which many people may find underwhelming. However, this is one of the ways that Ellipsis reflects real life and it is refreshing to see a piece of cinema truly grasp this concept.

Not only this, Ellipsis also makes you long for a night just like you are watching unfold on the screen and especially in Sydney. Wenham said in his post-film Q&A that he did not want any typical iconic shots of Sydney and this works perfectly. In fact, by seeing the city from a different perspective it makes you realise how beautiful it really is. There are many shots Sydney locals will know only too well, such as the inside of the Queen Victoria Building and fountain at Kings Cross. The film also subtly implies that it is paying tribute to the suburb of Kings Cross and it's dying night life culture due to the lock-out laws. The cinematography is truly exquisite and the musical score composed by Megan Washington is whimsical and perfectly fitting for the mood of the film.

Ellipsis is so much more rewarding if you know the place in which it came from. The result of this intriguing creative experiment is light, joyous and completely lovable. A wonderful directorial debut from David Wenham.

8/10

Sydney Film Festival: 78/52 (2017) film review

Year: 2017

Running Time: 91 minutes

Director: Alexandre O. Philippe

Cast: Justin Benson, Peter Bogdanovich, Guillermo Del Toro, Danny Elfman, Bret Easton Ellis, Jamie Lee Curtis, Elijah Wood

78/52 is screening as part of the 2017 Sydney Film Festival program and will be shown on Friday June 9 (Dendy Newtown) and Monday June 12 (Dendy Opera Quays). Please see the Sydney Film Festival website for more information and purchasing tickets.

"The death of a beautiful woman is, unquestionably, the most poetical topic in the world"

- Edgar Allen Poe

Alexandre O. Philippe's 78/52 is a glorious ode to Alfred Hitchcock's Psycho that is crucial viewing not just for fans of The Master of Suspense, but for all film lovers and aficionados.

Ground-breaking is not a strong enough word to describe the effect Psycho's has upon it's release in 1960. 78/52 explores the effect Psycho has had on the world of filmmaking by allowing notable film personalities (including Peter Bogdanovich, Elijah Wood, Danny Elfman and Bret Easton Ellis) and relatives of those who were directly involved in making the film, to narrate by providing their knowledge and opinions. Philippe's documentary shines a particularly strong light on the infamous Janet Leigh shower scene, which broke many cinematic rules in the most intriguing and unprecedented of ways.

Psycho is arguably the most popular of Hitchcock's films and it is understandably due in large part to the shower scene. In 1960, the Motion Picture Production Code (often referred to as the Hays Code) was still being enforced and the fact that this scene made it past the censors is an example of the brilliance of Hitchcock. The scene, which see's Marion Crane (played by Janet Leigh) brutally murdered by Mrs Bates in her motel room shower, is timelessly brutal, terrifying and shocking. With everything that was happening in the world in the early '60's, the scene was almost a sign of the times as it showed that you were never safe....not even in your own home or personal space and Hitchcock honed in on that nightmare.

As 78/52 exhibits, there were so many factors that made Psycho and the shower scene so monumental. From the way it was shot to avoid showing any actual violence or nudity, to it's simple, but easily recognisable score, the scene is extremely complex and flawless.

While many a book has been written about Psycho and even the 2012 film Hitchcock centred around it's production, 78/52 is an extremely thorough look at the film and gives a frame by frame examination of it's most popular scene. Both intriguing and informative, the film thoroughly presents it's case as to why Psycho and it's pivotal scene mean so much in a creative and original fashion. While watching the film, the importance of Psycho to so many people and specifically those in the film industry is evident by the amount of passion that is felt when the narrators speak of it. It is also particularly interesting hearing personal accounts by Marli Renfro (Janet Leigh's body double), Oz Perkins (Anthony Perkins' son), Tere Carrubba (Alfred Hitchcock's granddaughter) and Jamie Lee Curtis (Janet Leigh's daughter).

The way 78/52 is shot is reminiscent of the film it is honouring, as it is completely in black and white and it's primary location is a replica of the inside of the Bates house. The film is also edited beautifully, as it does what Psycho does and all good documentaries should do...it builds up tension to when it breathtakingly reveals the main purpose for the film. The shower scene isn't discussed in detail straight away, but when it is you are blown away by how brilliant it truly is.

While 78/52 is definitely a film for Hitchcock fans, it is a documentary that any film lover should see. Alexandre O. Philippe's film is a completely different spin on the filmmaking documentary and does an excellent and captivating job at preserving and understanding this piece of film history.

9/10

Wonder Woman (2017) film review

Year: 2017
Running Time: 141 minutes
Director: Patty Jenkins
Writers: Allan Heinberg (screenplay and story), Zack Snyder and Jason Fuchs (story), William Moulton Marston (Wonder Woman created by)
Cast: Gal Gadot, Chris Pine, David Thewlis, Robin Wright, Connie Nielsen, Danny Huston, Elena Anaya, Lucy Davis, Ewen Bremner

Wonder Woman is released in Australia on June 1 (Roadshow Films) and the United States on June 2 (Warner Bros Pictures).

Wonder Woman is being hailed as a triumph by many as it has seemingly brought the DC Universe back from the depths of critical despair it has found itself in.

However, it's success is not at all dependant on it's superiority to Man of Steel, Batman v Superman: Dawn of Justice and Suicide Squad. Although it is not at all a stretch to say that Patty Jenkins' film has restored confidence in the Warner Bros DC Universe, nothing takes away from the fact that Wonder Woman is thrilling, smart, unexpectedly sweet and most importantly, ground-breaking.

The strength of Wonder Woman lies collectively in Patty Jenkins' flawless direction, Allan Heinberg's strong screenplay and Gal Gadot's perfect portrayal of the superhero we have all been waiting for. The intriguing origins story of Justice League member, Wonder Woman and her alter ego, Diana Prince (although it doesn't seem to be much of a secret in this film that one is the other)  brings together the settings of the idyllic island of Themyscira and the dread of World War I, as she finds her destiny and comes to understand what is worth fighting for in the world of man. While not completely airtight, Heinberg's well-written screenplay makes the story of the inspiring warrior princess compelling and intriguing.

While Wonder Woman first graced the pages of comic books back in the 1940's and was a hit on the small screen in the 1970's with Lynda Carter, finding her place in cinema has been a problematic affair. A film with Wonder Woman at the helm has been in development in one way or another since 1996 with many different directors and actors involved. It's been a long wait, but a wait that has been well worth it as Patty Jenkins is the perfect director for the film and Gal Gadot the perfect leading lady.

Jenkins direction is absolutely exquisite. However well-written Heinberg's screenplay is, there is so much that when transferred to the screen could have come across as extraordinarily cheesy and overdone, but with Jenkins' direction seems almost natural and astonishing. One example of this is the scene when Diana first becomes her superhero self as she walks in the revamped Wonder Woman suit through the trenches in slow motion. Even describing this gives the impression that it could well be painful to watch. Yet, the way Jenkin's directs this scene makes it absolutely breathtaking when combined with the haunting musical score by Rupert Gregson-Williams and stunning cinematography by Matthew Jensen. It is such an important moment in the film and it is executed to perfection.

This is only one example of how Jenkins is able to set her film apart from other films of the superhero genre. These days, superhero films are generally a showcase of mind-blowing special effects and exhibitions of how they be used to create the most spectacular action sequences. Wonder Woman isn't unlike this by any means, but what makes it's fast paced and impressive action scenes even more so is that they are spread out through the film rather than piled on top of one another like so many other films. This point of difference makes Wonder Woman taking on her enemies even more exciting to watch and as incredible as her fighting scenes are, they do not feel like an assault on your senses.

And it is not just the spectacular action that makes Jenkins and Gadot the perfect team. Together they make Wonder Woman so much more than a female superhero who can outplay any villain regardless of gender, although she is definitely this too.

When we first met Diana Prince in last year's Batman v Superman: Dawn of Justice, Gadot stole every scene she was in. However, the Diana from that film is a very different one than what we see here and this is a much welcomed difference.

Wonder Woman is the perfect origins story as it not only makes you understand the character more, it makes you connect with her. As Diana moves from her homeland where she is royalty and where gods were worshiped, to London and the world of man, she struggles to adapt to social etiquette. Hilarity ensues as she learns basic cultural differences and in particular, the ice cream scene is quite adorable. Her dialogue during this time could have been over-emphasised (especially considering she is a princess) and the comedy been goofy and forced. Yet, Gadot is so natural, genuine and endearing. She is not only likable, she is lovable. You truly care about her and want her to be victorious. Her reason for being a fighter and a hero is admirable and beautiful, which is something you can't normally say for superheroes in film.

Wonder Woman need not be compared to other DC films for it to be hailed as a success. It is the superhero/action film that we have been waiting for. With it's wonderful hero and brilliant direction, Woman Woman is a grand achievement in a genre where it is becoming harder to please audiences.

9/10

Pirates of the Caribbean: Dead Men Tell No Tales (2017) film review

Year: 2017
Running Time: 129 minutes
Directors: Joachim Ronning and Espen Sandberg
Writers: Jeff Nathanson (story and screenplay), Terry Rossio (story)
Cast: Johnny Depp, Javier Bardem, Brenton Thwaites, Kaya Scodelairo, Geoffrey Rush, David Wenham, Kavin McNally, Martin Klebba, Stephen Graham, Golshifteh Farahani, Orlando Bloom

Pirates of the Caribbean: Dead Men Tell No Tales is distributed by Walt Disney Pictures and will open in Australian cinemas on Thursday May 25 and in the United States on Friday May 26.

How did we ever get a fifth Pirates of the Caribbean film?

14 years after we first met Johnny Depp's eccentric buccaneer Captain Jack Sparrow in The Curse of the Black Pearl, the franchise is still plodding along with impressive box office returns, but unable to hold a candle to the original first film. The good news is that while Pirates of the Caribbean: Dead Men Tell No Tales may be blatantly imperfect, it is nevertheless entertaining, enjoyable and a rewarding return to the spirit of the first film.

The Pirates of the Caribbean franchise has it's fair share of critics and those who wonder how in the world it got to a fifth film, but it's loyalists understand the fascination with the series and why Jack Sparrow continues to intrigue. One only has to look at the inspiration for the original film to understand it's staying power.

The Pirates of the Caribbean ride at California's Disneyland was opened to the public on March 18, 1967, which was 12 years after the park was opened and it was the last ride which Walt Disney himself had a hand in designing. Despite the New Orleans Square ride being one of the oldest in the theme park, it has drawn steady crowds since it's opening and is still considered by many to be  their favourite Disney attraction. The Pirates ride is by no means the best way to get your adrenalin pumping at Disneyland, but the boat ride which takes you through the wild and scandalous Audio-Animatronic world of the Caribbean never fails to delight park-goers.

The reason for the ride's ongoing success is that the concept and world of pirates has and always will excite and intrigue. Along with that unmistakable Disney magic, this is exactly why the film franchise is still going strong and attracting audiences over a decade later. In recent times, Disney are the only one's who have been able to successfully convey the dark and dangerous world of swashbuckling pirates to the big screen and combine it with the light-hearted humour and enjoyment that makes pirates simultaneously fun and thrilling. They do this so successfully that a fifth film is not surprising nor a terrible idea.

Despite the worry that the franchise was starting to tire, Dead Men Tell No Tales is the strongest in the series since the original film. Depp returns as Captain Jack Sparrow to search for Poseidon's trident with new allies, Henry Turner (Brenton Thwaites) and Carina Smyth (Kaya Scodelairo), when an old and menacing enemy, Captain Salazar (terrifyingly portrayed by Javier Bardem) reappears.

The new film is far from flawless with it's complicated story that is initially hard to follow, it's tendency to be goofy rather than funny at times and evident holes in it's screenplay (much like The Curse of The Black Pearl). However, it is nevertheless entertaining, enjoyable and painless viewing. As well as being perhaps the most visually attractive of the franchise so far with it's incredible special effects, cinematography and production design, it rewards the loyal Pirates of the Caribbean fans by building on the stories of past characters (including Orlando Bloom's Will Turner) and giving more background to others, specifically Jack Sparrow and Geoffrey Rush's Captain Barbossa.

While the resounding question is made about whether Pirates of the Caribbean is still relevant, the same is undeniably being said about Depp and his Captain Jack Sparrow. After Depp was nominated by the Academy for his portrayal of the beloved antihero in The Curse of the Black Pearl, the screenwriters for the past four films (including Dead Men Tell No Tales) have given his character many recurring quotes and eccentricities...many of which have become tiresome and lack the amusement they once did. Depp is fine in Dead Men Tell No Tales and truth be told, starts the film a great deal more irritating than he finishes it. However, the inevitable question is whether it is now time for Depp to hang up his pirate hat and say goodbye to Captain Jack Sparrow?

For many the answer would be yes...but there would almost certainly be no other pirate protagonist quite like Jack Sparrow. Love him or hate him, there is no one quite like him and it would almost be impossible to reimagine a character like him to lead future Pirates of the Caribbean films..presuming there will be more. The reason fans will be praying for me is the fact that Dead Men Tell No Tales only scratched the surface of Jack's past and there is so much still to be told.

However, one would also not be disappointed for another film if Paul McCartney was to reprise his role as Uncle Jack, as it is undoubtedly one of the best scenes of the film.

We may not have needed a new Pirates of the Caribbean film, but Dead Men Tell No Tales is a thoroughly entertaining and rewarding experience for those who have stuck around hoping that the franchise is able to return to the glory days of The Curse of the Black Pearl.

7/10

Seattle International Film Festival: Yourself and Yours (2016) film review

Year: 2016
Running Time: 86 minutes
Director/Writer: Hong Sang-Soo
Cast: Kim Joohyuck, Lee Youyoung

Yourself and Yours is reviewed as part of our Seattle International Film Festival coverage by our reviewer on the ground, Anna Chu.

Yourself and Yours, a film by prolific South Korean filmmaker Hong Sang-soo, is an intimate fly-on-the-wall view into the lives of two young people, who seem to know each other, but yet not at all. 

Youngsoo (Kim Joohyuck) is furious at his girlfriend Minjung (Lee Youyoung) after hearing stories about her drinking with other men and without him. Minjung leaves him once she is confronted, which sends Youngsoo into a downward spiral of despair and longing for Minjung but ultimately a realization she is the one for him. However, the journey we take with Minjung is one of possible mistaken identity - is the girl we see on screen her mysterious doppelganger? An identitical twin? Is she actually Minjung?

I left the theater thinking this was going to be a tough story to retell without sounding like I was completely crazy for enjoying it.

In South Korea, female beauty is desired, sought and bought. All things considered, it is probably likely that Minjung has a lookalike hanging out in coffee shops and bars around Seoul. However, it becomes painfully obvious that this is not the case. Minjung is deliberately deceiving these men, pretending to have never met them before. The men she meets explain they're attracted to her innocence, yet she is anything but. It's unclear, even at the end whether it was intentional on her part to pretend she was someone she wasn't, or was she haphazardly swinging a bat at anyone to see if she could finally make contact with a real connection?

I'd never see Hong Sang-soo's films before, but this film I found super interesting. Part improv, part scripted dialog, in a recent Hollywood Reporter interview, he says 'I’ve come to the point where I start with almost nothing'.

This became very apparent to me, as I kept looking for clues to figure out how the movie was going to end. There are things that come into frame - store mottos, a lingering of a store mannequin being undressed - that make you think "what was that for? Do I need to recall this later?" There is a moment in the final scene that catches you off guard, as you got so comfortable with Youngsoo's fantasy scenes. There is a beautiful surprise that it is his reality. That is why I left the film feeling fulfilled- it wasn't a film flailing wildly trying to make a point. Yet what it was I'm still not sure.

7.5/10

Yourself and Yours screened at the Seattle International Film Festival on May 21 and will have encore presentations on Monday May 22 (Majestic Bay) and Wednesday May 24 (SIFF Cinema Uptown). For more information, please see the Seattle International Film Festival website.