Author: Natalie Teasdale

I want to share with other movie fans those amazing films that get under your skin and stay with you for days: the scary ones, the funny ones; the ones that get you thinking. With a background in creative writing, photography, psychology and neuroscience, I’ll be focusing on dialogue, what makes a great story, if the film has beautiful creative cinematography, the soundtrack and any movie that successfully scratches the surface of our existence. My aim is to always be searching for that ultimate movie, to share what I’ve found to be interesting (whether it be a great soundtrack, a great director or links to other information of interest) and to give an honest review without too much fluff. BAppSci in Psychology/Psychophysiology; Grad Dip Creative Arts and Post Grad Dip in Creative Writing. Founder of GoMovieReviews.

Cairo Conspiracy

GoMovieReviews Rating: ★★★★

Directed by: Tarik Saleh

Written by: Tarik Saleh

Produced by: Kristina Åberg and Fredrik Zander

Starring: Tawfeek Barhom, Fares Fares, Mohammad Bakri, Makram J. Khoury, Sherwan Haji, Mehdi Dehbi.

WINNER – BEST SCREENPLAY
Cannes Film Festival 2022

‘Don’t forget where you’re from.’

When Adam (Tawfeek Barhom) is granted a scholarship to study at the Al-Azhar in Cairo, he’s worried his father won’t approve.

But his father, a fisherman who is a strict disciplinarian, says not even a father can stand in the way of God’s will.

Al-Azhar is the centre of power in Sunni Islam, and it is here that Adam arrives to open his world to the teachings of the Qur’an. Instead the fisherman’s son becomes the centre of a power struggle between the State and religious leaders when the Grand Imam passes away.

Director and writer Tarik Saleh (The Nile Hilton Incident (2017)) states, ‘One of the Egyptian revolutions, the one that brought Field Marshal Sisi to power, was seen as a military coup, although it was actually supported by the people. Once he became President, Sisi, who has ruled Egypt for eight years, decided to confront the Al-Azhar institution directly. His first decision was to visit the University on the Prophet’s birthday. His speech said in essence: “Either you contribute to the problem or you contribute to the solution. We need to fight terrorism, which you have not done so far. There are even books in your institution that promote terrorism and this must stop.”’

What surprised Tarik Saleh as he was writing the script for, Conspiracy in Cairo is that what he had written started to happen in reality.

The conflict between state and religion is the driving narrative of the film when the State decides it will do anything in their power for the replacement of the Grand Imam to be on the side of the president.

Enter State Security Colonel Ibrahim (Fares Fares).

At the behest of his boss, Ibrahim uses the students as informants within the Al-Azhar, known as Angels, to pass back information to influence the decision making in favour of the State’s priorities.

Echoing the implied statement of President Sisi in real-life Egypt, “I am the new leader of Egypt, you had better fall in line”.

And the then Grand Imam, Sheikh el-Tayeb: “I am only the Grand Imam, my only privilege is to give recommendations from the Qur’an. You, Sissi, make the law and I do not interfere with that.” The President wanted the Qur’an to support his proposed laws. The Grand Imam replied that he could not because it is impossible to change the Qur’an.”

What we see in the film is how Adam, once recruited as an Angel, navigates the power struggle while staying hidden from those he’s informing on and also keeping alive by passing information to State Security that, as his predecessor and fellow student, Zizo (Mehdi Dehbi) found out – being a loose end is just as dangerous.

Weaved through-out the delicate yet deadly politics are the teachings of the Qur’an, where, ‘right is right, sin is sin. God will guide you.’

It’s a quietly menacing film about ‘books that scare tyrants and kings,’ and scholars who quote the words of the Qur’an to find their way to a Truth.

This is a political intrigue set in the modern-day world of Islam in Egypt so the tone is unique as the familiar politics of State seek to control the power of religion, where Adam has to decide if the obstacles put in front of him come from God, or fate or man.

‘This life is but a game.’

It’s a struggle, finding that balance of power between, ‘Two Pharaoh’s in the land,’ because one false step detected by the people of Egypt could very likely lead to civil war.

Conspiracy in Cairo is an absorbing story (there’s a reason the film won Best Screenplay at the 2022 Cannes Film Festival), quietly told, from the cold but honest work of a fisherman working from a small boat on the sea, to panning to a flock of birds drifting between the spires of the Al-Azhar, to the weave of Brothers snaking their way to find and punish any against them.

Thought-provoking, intriguing with moments of beauty – this is a balanced film that gets you thinking.

John Wick: Chapter 4

GoMovieReviews Rating: ★★★★☆ (4.3/5)

Rated: MA15+

Directed by: Chad Stahelski

Written by: Shay Hatten and Michael Finch

Based on Characters Created by: Derek Kolstad

Produced by: Basil Iwanyk, Erica Lee, Chad Stahelski

Executive Producers: Keanu Reeves, Louise Rosner, David Leitch, Michael Paseornek

Starring: Keanu Reeves, Donnie Yen, Bill Skarsgård, Laurence Fishburne, Hiroyuki Sanada, Shamier Anderson, Lance Reddick, Rina Sawayama, Scott Adkins, Clancy Brown and Ian McShane, Marko Zaror, Natalia Tena.

‘Such is life,’ is the playful yet deadly theme in this forth chapter of John Wick, spoken by Winston (Ian McShane), New York manager in explanation of another sour turn of events surrounding the ever-increasing reward for the fulfilment of the Kill Contract for the unstoppable, John Wick (Keanu Reeves).

This time, the Marquis (Bill Skarsgård) of The High Table has been granted the power to do anything necessary to bring John Wick down.

‘Why won’t you die!’

German assassin Killa (Scott Adkins) exclaims through his bloody, gold capped teeth.

Because fueled by his need for revenge, Wick continues to kill anyone in his way towards freedom.

There’re 14 action sequences in this forth chapter, which is four times more than any previous John Wick film.

I didn’t relish the idea of sitting through nothing but fight scenes but the film draws you into the story before the action kicks in. And it’s this attention to the story as well as the mind-blowing action that sets the John Wick franchise apart.

I had massively high expectations after being blown away by John Wick 3, but returning Keanu Reeves in the lead role (he’s also an executive producer here) and director, Chad Stahelski, did not disappoint.

Producer Erica Lee notes, it’s, ‘the “bond and trust” between Reeves and Stahelski that has defined the John Wick franchise. “Chad has given so much to the films for the better part of a decade. Keanu loves the series so much – he’s in every script meeting and casting discussion and has come up with some amazing story ideas. Very few franchises have the consistency we’ve enjoyed with our core team.”

Chapter 4 opens in Jordan, with John riding horseback, riffle in hand, to Japan, Berlin and Paris, so there’s some interesting sets for those explosive action scenes here. And the inventive fights just get more intense from knives, num-chuks, exploding bullets of fire, to cars in traffic used like dodgem cars, where the would-be assassins don’t dodge so much. And neither does John.

Adding to the fight scenes is the additional body armour of the suits worn by John and The Table killers so weapons get added just to make an opening for a kill: thump with a num-chuk to expose a neck for the kill shot.

There are so many moments of cringe and ouch all the while grinning my face off. Particularly the last quarter of the movie – the grin just got wider as the action got ridiculous. In a good way.

The choreography is fast and brutal and smooth like a dance – the sheer number of stunt people in the credits understandable. “Reeves also did precision driving training and horseback riding training, in addition to instruction in many other disciplines. “Over the course of these films, Wick can sign, speak Russian, and, in CHAPTER 4, speak a little Japanese. So, I’m always picking up different skills,” says Reeves.

There’s also a play of light with John’s reintroduction set with a backing of red light so even the cherry blossoms in the background took on a sinister aspect. And that red light continues to follow Wick through-out the film, like an illustration of his unrelenting need for revenge.

In addition there’s thoughtful one-liners thrown in, strangely enough from the villain, the deadly Marquis, like: ‘A man’s ambition should never exceed his worth.’

Has to be said, Bill Skarsgård as the Marquis is genius casting and just one of the worthy additions to the story – The Tracker (Shamier Anderson) with his partner killer dog was a little obvious. But then ended up being one of my favourite characters. There’s also The Harbinger (Clancy Brown) that adds another layer to the story that is The High Table.

If you’re already a fan of the John Wick franchise, Chapter 4 is obviously a must-see and in my opinion, as good as the previous JW3: the detail, the humour, the dogs, the camera work, those shots from above a seriously successful device to show more of the action… Action at its very best.

What a journey.

Shazam! Fury of the Gods

GoMovieReview Rating: ★★★1/2

Rated: M

Directed by: David F. Sandberg

Written by: Henry Gayden, Chris Morgan

Shazam Created by: Bill Parker, C. C. Beck

Produced by: Peter Safran

Starring: Zachary Levi, Asher Angel, Lucy Liu, Helen Mirren, Rachel Zegler, Jack Dylan Grazer, Adam Brody, Ross Butler, Meagan Good, D. J. Cotrona, Grace Caroline Currey, Haithe Herman, Ian Chen, Jovan, Marta Milans, Cooper Andrews and Djimon Hounsou.

‘The most powerful thing about you, is you.’

Yes, there’s the expected underlying message that goes with any teen-starring superhero movie.

But there’s a balance in this sequel to Shazam!, released back in 2019 (see review here)

There’s the delightful humour of Zachary Levi returning as the superhero Shazam; his alter ego (or is it the other way around?), Billy Batson (Asher Angel) now turning 18, an older teen to his previous 14-year-old character, still revelling in his superhero’s man-body, his adoptive family, mum (Marta Milans) and dad (Cooper Andrews) blissfully oblivious to their adopted children’s superpowers:

Freddy (Jack Dylan Grazer) superhero Freddy (Adam Brody)

Eugene (Ian Chen) superhero Eugene (Ross Butler)

Mary and superhero (Grace Caroline Currey)

Pedro (Jovan Armand) superhero Pedro (D. J. Cotrona)

Darla (Faithe Herman) superhero Darla (Meagan Good).

The superhero powers don’t always go to plan though, hence being nicknamed by The Tribune – that no-one reads, it’s fake news! – the, Philly Fiascos.

There’s some genuinely funny moments here, with Shazam seeing a paediatrician, lying on a couch like he’s seeing a psychiatrist to unpack his issues – the doctor recommended by a friend, a youngish friend around Billy’s age because the doctor has dolls in the corner of his office.

Shazam has understandable issues. He doesn’t think he deserves his powers because he’s been rejected A LOT: his parents, the foster homes. Then of course The Tribune with front page, ‘Rejected by City.’

The main difference between the sequel to the original is the team aren’t kids anymore, so those jokes about the disparity of a child in a man’s body doesn’t have as much punch. But seeing Shazam rapidly chewing a mint to seal the deal on his Wonder Woman crush… I found myself laughing out loud at Zachary Levi’s antics as Shazam once again.

Has to be noted that Billy the superhero was less mature than Billy Batson the teen turning 18. But the idea of the school kids turning into fit superheros still worked and was a lot of fun.

And there’s blue fire-breathing dragons and the Staff of the Gods, the opening of the film above Athens. Spartan’s appear: Hespera (Helen Mirren) and Kalypso (Lucy Liu). Gods who have lost their power because of Shazam breaking the Staff in the previous film.

I like a bit of fantasy in a superhero movie. And director David F. Sandberg has handled the balance of humour, fantasy and drama well.

The young Darla felt, well, a bit young, at times. To appeal to a younger audience, no doubt. I could hear the response in the audience to her doe-eyed antics.

Didn’t always hit for me.

But, ‘I’m an idiot,’ Shazam is just as funny as the first film, even as he fights his growing pains while forever wondering, what is my superhero name?

It drags a bit, getting to the growing up moment, but overall, I was Shazam! entertained by this sequel, Sandberg getting the timing of the jokes just right.

Pearl

GoMovieReview Rating: ★★★1/2

Rated: MA15+

Directed by: Ti West

Written by: Ti West & Mia Goth

Produced by: Jacob Jaffke, p.g.a, Ti West, p.g.a, Kevin Turen, Harrison Kreiss

Executive Producers: Mia Goth, Peter Phok, Sam Levinson, Ashley Levinson, Scott Mescudi, Dennis Cummings, Karina Manashill

Starring: Mia Goth, David Corenswet, Tandi Wright, Matthew Sunderland, Emma Jenkins-Purro.

‘I do like a good audience.’

Pearl, the prequel to X (2022) is the origin story of the voyeur who stalks the crew of X, especially porn star, Maxine Minx.

See movie review of X here: X Review

There’s parallels between the two characters, emphasised by the characters, Maxine and Pearl both played by Mia Goth.

Took me a while to figure that here Mia was playing the old woman from X, now young on the same farm.

The opening is an idyllic scene, the barn doors opening to a farmyard with chooks and clothes flapping in the breeze while the sun shines on the green grass.

There’s an emphasis on the brightness of mid-century technicolor with an orchestral score by Tyler Bates; the brightness adding another dimension to the sinister as what is all goodness in the world is splattered with the blood of Pearl’s broken dreams.

There’s a room full of dolls and a girl looking the mirror, Pearl.

She stretches out her arms, like a dancer.

Her mother, Ruth (Tandi Wright) speaks to Pearl in German, chastising her and her silly fantasies.

‘I’m special,‘ Pearl says.

Set in 1918, Pearl’s husband is at war and she is trapped on the farm with her mother and dependent father (Matthew Sunderland).

She acts out.

It gets bloody.

This is a different style of horror to X. This is a character study, a slow reveal of Pearl’s dark soul.

Ti West returns as director, this time focussing not on the erotic Maxine, but the deranged Pearl, with Mia Goth again, the highlight.

Mia Goth says, “One of the core elements that I came to understand with Ti during preparation is that Maxine and Pearl are not the same women, but they are the same character. They are polar opposites in terms of their life experiences, and their choices and courage—or lack of it—have shaped them to be who they are. I always saw Pearl as the embodiment of Maxine Minx’s fears.”

West focusses up close to Pearl, as an imagined dancer and star, to her doe-eyed innocent want, to the crazed smile like the flip-side of the mask of comedy and tragedy.

When Pearl meets a cinema projectionist (David Corenswet), he seems to understand her: “…You only get one take at this life. If you don’t make the most of it while you’re young, you may never get the chance again.”

He seems to understand her. Until he doesn’t.

It’s like a mix of comedy and tragic, so it’s more than her wanting and the tragedy of her life, it’s a technicolor twist of her beauty hiding the darkness underneath.

And the horror delivers, the effects better here in Pearl than the fake monstrous elderly of X – the burnt skin and limbs being cut-off look oh so very real.

Along with the bright aspect of the farm, there’s some play in the presentation, the slow motion of nerves before performance, the stop-frame highlighting Pearl with pitchfolk in hand, a goose impaled about to be devoured by an alligator.

So there’s a circle back, a reflection, a revelation of the character before she becomes the elderly murderous monster: the farmhouse, the gator, Pearl.

We see the character Pearl wanting her dreams to be a dancer more than anything, just like Maxine wanting nothing more than to be famous.

You can understand my confusion about the two characters.

But the prequel is more psychological horror than slasher, so the audience is given a background understanding of the murderous Pearl with more realistic gory bits.

Not recommended to watch in the morning, just after breakfast.

AKA, the horror delivers.

All the Beauty and the Bloodshed

GoMovieReviews Rating: ★★★★

Rated: R18+ (High impact sexualised imagery)

Directed by: Laura Poitras

Produced by: Laura Poitras, Nan Goldin, Howard Gertler, John Lyons, Yoni Golijov

Composer: Soundwalk Collective

Photography: Nan Goldin

Featuring: Nan Goldin

“Droll thing life is – – that mysterious arrangement of merciless logic for a futile purpose. The most you can hope from it is some knowledge of yourself – – that comes too late – – a crop of inextinguishable regrets.”

‘Heart of Darkness’, by Joseph Conrad

Nan Goldin was born into, ‘the banality and grip of suburbia.’

After her sister, Barbara, was institutionalised by her parents, where Barbara eventually committed suicide, leaving behind in her notebook the quote from Joseph Conrad, written above, Nan began to understand what denial was.

Nan was also sent to an orphanage when her mother couldn’t cope.

It was the beginning of losing trust in herself and what that means.

All The Beauty And The Bloodshed is about Nan’s life, as an artist and world renowned photographer, and her activism as a founding member of P.A.I.N (Prescription Addiction Intervention Now); her mission to remove the Sackler family from the art world, for galleries to refuse their donations and to take their family name from the walls.

The Sackler family made their fortune from prescription drugs like Diazepine and later, OxyContin – a drug that provoked an opioid crisis and a drug Nan herself become addicted to after being prescribed OxyContin after surgery. Like so many others.

Nan’s fight against the Sackler Family and their company, Purdue Pharma, becomes the cumulation of her life’s work and a focus of the documentary.

The documentary was filmed over two years as director Laura Poitras (Citizen Four (2014)) visited Nan at home.

The film is made up of voice over from Nan herself and the images her life’s work in slideshows.

An exhibit that repeats throughout the documentary is, ‘The Ballad of Sexual Dependency.’

Nan says, ‘The wrong things are kept private in society, and that destroys people. All my work is about stigma, whether it’s suicide, mental illness, gender.’

The link back to her childhood and loss of her sister shown to be foundational in Nan’s work.

Her photographs are of her friends, her early work of drag queens in the early seventies, in Boston. And that’s what really grabbed me about this film, her amazing work: the artistry in the blur, the highlights, the eyes and coy smile. It’s like the very atmosphere is captured in a photograph.

Her vision is described in the film as her taking photos from, ‘our side.’

Because her people were the ones who only felt safe coming out at night.

But they didn’t feel like the marginalised, they thought everyone else was.

There’s parties and drugs and love. Nan does anything to buy film. And documents it all.

Set to the background of this provocative work is Nan describing her life, her fascinating and sometimes dark journey and she’s very candid, opening up about times in her life she’s never spoken about, like her time as a sex worker – ‘it’s very hard work’ – but feels now is the time.

It’s an emotive film.

There’s nothing flashy and there’s no layering over the focus of the film because Nan’s life is a powerful story. There’s just more of her in the music, many songs her suggestion while also bringing NYC group Soundwalk Collective to create the score.

I found her powerful because she’s able to say, ‘I’m nervous.’

Nan has a tremor at times, but her voice remains measured because what she has to say is important.

The film shows a difficult upbringing, that essentially stole her voice that was then given back to her in the form of a camera, to capture her life, to give her a reason to be there.

And then, her art giving voice to others, to save lives.

For me, I was captured by those slide shows, the people in the photos like characters in the movie of Nan’s life.

It’s a heavy story, but the telling is simple, measured and driven not by the production, but what felt like Nan herself.

Women Talking

Star Rating: ★★★★

Rated: M

Directed by: Sarah Polley

Screenplay by: Sarah Polley

Based on the Book by: Miriam Toews

Starring: Claire Foy, Jessie Buckley, Rooney Mara, Frances McDormand, Ben Whishaw, Judith Ivey, Michelle Mcleod, Sheila McCarthy, Kate Hallett, Kira Gulolen, August Winter, Abigail Winter.

When is forgiveness giving permission?

Being tranquilised and raped and beaten and told it’s just a women’s wild imagination. That it’s ghosts, that it’s Satan, that it’s…

Until they catch one.

One of the men from their village, who then tells of the others so they’re arrested. But now, they are being freed and the women told to forgive and forget.

Leaving the women faced with a decision: Do nothing, stay and fight or leave.

Based on the book written by Miriam Toews, Women Talking is inspired by the story of the Manitoba Colony. Miriam is quoted describing her book as an, ‘imagined response to real events.’

See article here: The shocking true story behind new film Women Talking (harpersbazaar.com)

But rather than focus on the abuse the women have suffered at the hands of the men they have spent their entire lives looking after, this is a film about the discussion surrounding their decision of what is the best way forward.

They’ve never been taught to read or write, they’ve never been allowed to think because they were brought up to believe no one cared about what they thought.

But they know what crimes have been committed against them.

Now, they must weigh-up the pros and cons of each path.

There are many bitter-sweet moments in this film, the patience of old mother Agata (Judith Ivey), the righteous anger of Salome (Claire Foy), the wanting what’s best from Greta (Sheila McCarthy), the tolerance of Ona (Rooney Mara), Mariche’s (Jessie Buckley) need to forgive because of fear.

I liked the balance, the analyses, the discussion.

They believe if they fight or leave, they won’t be forgiven by God. If they leave, they leave their sons, their husbands.

It’s women talking, yes, but there’s the addition of August (Ben Whishaw) taking the minutes of the discussion. He loves Ona. His family was exiled. He went to college. He’s returned and now teaches the children. His mother spoke against the power dynamic of the community. He’s passive. Like the women have been taught the goodness of being passive.

But what is the misuse of forgiveness? When is forgiveness, permission?

This is a thoughtful film that wasn’t as expected, that wasn’t the traumatic film I thought I was walking into. I related to the characters in this film.

It was refreshing to hear a woman explain if she was married she would no longer be the woman he wanted to marry. She would be no longer be her. And I liked the wilfulness of these trapped women, the sometimes off-kilter humour where some wonder why some cope and keep moving forward while others, don’t.

There are moments of beauty, with a soundtrack opening the door to insights shared, but what a strange soundtrack to finish such a poignant film. Which highlighted the slightly off-tone at times, like the strangeness of the outsiders driving with music blasting through the community in an attempt to take the census of the population.

How strange to hide. To not want to be counted.

A thoughtful and bittersweet film that I hope will lead to a wider discussion. To lead to a better understanding of the soul searching required to take oneself out of an abusive situation caused by those who are supposed to care and love. To decide to continue being trapped by a society that has led to abuse. Or risk being unforgiven. And what it means, to forgive.

Knock At The Cabin

GoMovieReviews Rating: ★★★☆ (3.8/5)

Rated: M

Directed by: M. Night Shyamalan

Screenplay by: M. Night Shyamalan and Steve Desmond & Michael Sherman

Based on the book: The Cabin at the End of the World by Paul Tremblay

Produced by: M. Night Shyamalan, Marc Bienstock, Ashwin Rajan

Starring: Dave Bautista, Jonathan Groff, Ben Aldridge, Nikki Amuka-Bird, Kristen Cui, Abby Quinn and Rupert Grint.

‘It’s time.’

There’s always the mystery, the waiting for the twist with M. Night Shyamalan movies – here, it felt like Shyamalan holding his nerve while adding touches, echoes of his previous films: the creaking of trees as the wind shifts through them while the characters wait and watch to see what monster will slowly come into view.

Instead of monsters, four people emerge. But it’s Leonard (Dave Bautista) who first introduces himself to young Wen (Kristen Cui). She’s catching crickets.

‘I’m just going to learn about you a little,’ she says.

Leonard helps. He’s good at catching crickets.

They’re going to be friends.

Until his three colleagues show themselves: Sabrina (Nikki Amuka-Bird), Adriane (Abby Quinn) and Redmond (Rupert Grint).

They’re holding weapons made from axes and sledge hammers.

Wen gets scared and runs back to the cabin, back to her two dads, Daddy Andrew (Ben Aldridge) and Daddy Eric (William Ragsdale). They’re a loving family. Andrew and Eric promise each other to always be together, no matter what.

So when Leonard and his colleagues tell them they have to make a terrible choice to stop the apocalypse, they will always choose their family.

Even if the intruders say they have the most important job in the world.

Are they ‘Jehovah witnesses?’ asks Ben.

Knock at the Cabin is a serious film, with brutal and bloody moments. The opening of sketches of crows and screaming faces. But the tension is offset with light moments like these doomsayer’s wielding weapons being possibly Jehovah witnesses.

Not laugh at loud funny, but light.

The impending doom and the bloody is also a contrast to flashbacks to family: the love, the honesty; when Andrew and Eric first met Wen.

It’s genuinely sweet and adds weight to the choice they refuse to make.

The pacing of the story shows restraint making this one of Shyamalan’s better quality films.

It’s a deceptively simple structure, most of the film set within the cabin, that builds just the right amount of tension while playing with expectation.

The delivery was there to support the idea of the story: not too funny, nor too violent, or too caught up in the drama of the family, just light touches to suspend the reality of the extreme premise of ordinary people faced with the idea of the world ending.

M3GAN

GoMovieReviews Rating: ★★★

Rated: M

Directed by: Gerard Johnstone

Story by: Akela Cooper & James Wan

Screenplay by: Akela Cooper

Produced by: Jason Blum, James Wan

Executive Producers: Allison Williams, Mark Katchur, Ryan Turek, Micael Clear, Judson Scott, Adam Hendricks, Greg Gilreath

Starring: Allison Williams, Violet McGraw, Ronny Chieng, Brian Jordan Alvarez, Jen Van Epps, Lori Dungey and Stephane Gameau-Monten.

‘She doesn’t look confused. She looks demented.’

I’m still trying to figure-out how I feel about this film, M3GAN.

There was certainly a lot of laughing: laughing at the cheese of this very realistic, 4-foot doll, Model 3 Generative Android, otherwise known as, M3GAN.

The doll character is made up of: human actor, VFX, animatronics and puppetry.

It was hard to take her seriously.

The premise of the film follows young Cady (Violet McGraw) when her parents are killed in a car accident, her guardian now her aunt Gemma (Allison Williams) who happens to work for a toy company, Funki as a roboticist.

The introduction of the film features her creation of virtual pets with what looks like false teeth.

She also has a prototype of a doll with a learning algo, so her responses come across as spontaneous, so the doll, M3GAN is more like a friend and protector than a toy.

And a perfect addition and substitute for all the parenting responsibilities that Aunt Gemma just doesn’t have time or the inclination for.

Left with the life-like doll who listens and protects, Cady becomes attached because M3GAN will protect her. No matter what.

It’s hard not to make comparisons with the reboot of, Child’s Play (2019), where the life-like Buddi doll doesn’t get possessed or start off being evil, but becomes a serial killer by mimicking what people do; by doing what he thinks his best buddy Andy wants him to do.

But here, the horror was downplayed leaning more into the creepy; but for me, the creepy came off as weird. But weird, and funny.

Hence my confusion.

Wan, producer and co-story creator says of screenplay writer, ‘‘Akela’s so smart, savvy and good at structure; she knew exactly the movie that I wanted to make. She is not afraid to push things that others might deem ridiculous or over-the-top. She understands that you must lean into concepts that might be a bit more farfetched to stand out from the crop of recent horror films.’

That push allowed some genuinely funny moments with the satire dripping from the broody look of, Cole (Brian Jordan Alvarez), assistant designer of virtual pets with false teeth (hilarious!); to that wonderful dark humour: ‘She’s not just surviving, she’s thriving,’ said by Funki CEO (Ronny Chieng) of Cady, now attached to the demented killer doll that is M3GAN.

It’s not all satire, with some foundational thought about attachment theory and the bonding arch of aunt and niece.

But what I really liked about Child’s Play was the techy aspect – there was no real attempt here except the read of facial expression to calculate emotional levels like fear, anxiety, trust, etc.

Director Johnstone notes, ‘We also had some wonderfully smart people weigh in on the script, such as Alex Kauffmann from Google. Through that process we were able to understand how these machines worked and pepper scenes with insights and verbiage that gave them legitimacy and unique perspective.’

I guess…

Overall, M3GAN was a fun watch that improved in the second half of the film.

There was a full circle to the story, of sorts, that was a little silly and definitely weird, with splashes of dark humour that outshone the scary.

I’m still chuckling about the cop explaining the discovery of a ripped-off ear and then apologising because he really shouldn’t laugh.

Nat’s Top 10 Movies for 2022

Another strange one for me this year. I haven’t been able to live in my home for the past three months, having to for-go screener reviews. My troubles are small, I know. And I hope that each and everyone is looking after themselves and keeping safe. The escapism of being emersed in the world of cinema has and will always be a sanctuary with some true gems this year, lifting and provoking thoughts about all the important stuff. There is more to life than the ongoing leak into my ceiling!

So, my Top 10 for 2022 it’s all about the layers of living this life – the depths of what’s hidden underneath, the most satisfying viewing when a story surprises, when the film comes full circle to, understand the question and the corresponding answer from the characters. This year, it was about understanding the why of the characters. That’s what kept me coming back, to fascinate, starting with:

10. Men ★★★★

Controversial, divisive, ambitious and thought-provoking in a beautiful setting that spoke of poetry; a backdrop to the journey of understanding, ‘men.’

9. Official Competition ★★★★

An unexpected journey that’s witty and enlightening. A satire with a criminal heart.

8. The Black Phone ★★★★

The pacing of this adaptation of Joe Hill’s short fiction piece led the way to a mysterious piecing of a dark puzzle that had me cheering for this supernatural thriller.

Special mention here of, Smile that I watched but didn’t review – was my best current release for Halloween viewing.

7. The Innocents ★★★★

A unique and poetic film about children who gain supernatural powers.

6. Three Thousand Years of Longing ★★★★

Beautiful on screen and thought-provoking – a classic tale that made the romance between a Djinn and human, relatable.

5. The Fabelmans ★★★★☆ 4.2

I kinda fell in love with The Fabelmans because there was something genuine in the feeling, the characters rounded-out without slapping the face with it.

4. Fantastic Beasts: The Secrets of Dumbledore ★★★★1/2

There’s a perfect play of darkness and light as the story starts digging deeper: it’s funny, sometimes confronting, it’s explosive, dramatic and heart-warming.

I’m looking forward to seeing what comes next.

3. Fire Of Love ★★★★1/2

A fascinating documentary that’s both exciting and poetic, romantic and philosophical.

An experience that I enjoyed from the start to its poignant ending.

2. Everything Everywhere All At Once ★★★★1/2

Added to the Kung Fu fighting and humour there’s also a good foundation to the family drama so I had a good giggle, got a little teary, and was pleasantly surprised by edgy concepts held together with the use of chapters to give the movie structure.

If you’re reading this review, you’re more than likely going to go watch it and I highly recommend it: go watch it.

1. The Forgiven ★★★★1/2

Based on the novel written by Lawrence Osborne, the complicated idea of this abrasive Englishman willing to leave with the nomadic father of the boy he has just killed is the beginning of the unpacking of his complicated nature.

I’m a huge fan of John Michael McDonagh’s previous films, greatly enjoyed and included in my, ‘If you haven’t watched, you’re in for a treat,’ list: ‘The Guard (2011) and Calvary (2014) and like these previous films, The Forgiven is a quality film that will stay with you.

The Fabelmans

GoMovieReviews Rating: ★★★★☆

Rated: M

Directed by: Steven Spielberg

Written by: Steven Spielberg & Tony Kushner

Produced by: Kristie Macosko Krieger p.g.a, Steven Spielberg p.g.a, Tony Kushner p.g.a

Executive Produced by: Carla Raij, Josh McLaglen

Starring: Michelle Williams, Paul Dano, Seth Rogen, Gabriel LaBell and Judd Hirsch.

‘Movies are dreams.’

I think we can all safely assume, The Fabelmans is based on Steven Spielberg’s life.

Co-writer and director, I thought it was risky trying to get the right perspective to make a film about your own life. Yet, I couldn’t help but be charmed by this movie.

Put together over 16 years of interviews and ‘intense conversations and writing sessions that Spielberg only half-jokingly likens to “therapy,” Spielberg with playwright and screenwriter, Tony Kushner, ‘turned the defining experiences of his childhood into the fiction of The Fabelmans.’

Spielberg says, ‘Everything that a filmmaker puts him or herself into, even if it’s somebody else’s script, your life is going to come spilling out onto celluloid, whether you like it or not. It just happens. But with The Fabelmans, it wasn’t about the metaphor; it was about the memory.’

Opening in 1952, we see young Sam (Gabriel LaBelle) taken to his first moving picture.

He’s terrified.

His mother, Mitzi Fabelman (Michelle Williams) is enthusiastic.

His father, Burt Fabelman (Paul Dano) decides explaining the mechanics behind the film will make the watching less scary.

The Greatest Movie Ever Made is kinda scary for a kid, with train crashes and smashed cars flying through the air.

The Fabelman’s is a little hammy, with a forced brightness at the introduction.

Yet Sammy’s obsession with film starts right here. In understanding and recreating that train wreck. To regain control.

What starts with a 50s disposable charm, becomes something more.

It’s a coming-of-age film but also shines a light on the parents: the difficulties of marriage, of being an individual, of being free. Of knowing yourself.

It’s cheesy, funny, edgy and brilliant in the way the characters are revealed; the timing and sometimes raw emotion eased into existence so this family of: genius father, artistic mother, always-along-for-the-ride best friend Bennie (Seth Rogen), the three sisters and film making obsessed son, begins like a carbon copy to become an ocean. All to the music of Mitzi playing piano, flamboyant 50s jive, or the orchestral soundtrack of a film made by the young Sam, his eye always there, his understanding of effects learned like a revelation, his ability to draw emotion from his young actors made like an understanding of his own.

The whole drama of the film crept up on me, with small pops of humour like luggage falling from the back of a trailer or Uncle Boris (Judd Hirsch) home to grieve his dead sister (Sam’s grandmother), telling Sam, ‘She was your grandmother, so tear your clothes and sleep on the floor.’

I write notes during a movie to help keep track, to remember for my review later. And sometimes, when it’s a good movie, it sounds like this:

Moving pictures

Sleeping with an oscilloscope

Jesus is sexy

Shopping trollies spinning by

Everything happens for a reason

Something real not imaginary

Arizona

Metaphoric filming of a family falling apart

Thinking like an engineer

Movies are dreams you never forget

The audience clapping at the ending.

I kinda fell in love with The Fabelmens because there was something genuine in the feeling, the characters rounded-out without slapping the face with it.

And the audience clapping at a preview screening? That’s a rare treat.

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this:

Share this: