cinema – Page 19 – Rating Frames

Becoming Cousteau Documents Jacques Cousteau’s Lifelong Pursuit of the Sea

October 13, 2021Darcy Read

Screener provided by Rialto Distribution

It feels somewhat reductive to call Jacques Cousteau an explorer. He was a pioneer, an inventor, a filmmaker, an author, and, at the later stages of his life, a conservationist to say the bare minimum. Sporting his unmistakeable red beanie, Cousteau set out on a lifelong journey to understand the depth of the ocean, which he and his team on the Calypso saw as an endeavour on the scale of space travel. People unfamiliar with his story may recognise his iconography through the Wes Anderson film The Life Aquatic with Steve Zissou (2004), where Cousteau was the main inspiration for Bill Murray’s titular character, albeit with vastly different personalities.

Helmed by Oscar-nominated documentary filmmaker Liz Garbus and a mountain of Cousteau’s own archival footage, this documentary is an honest and, at times, quite moving film about how an individual’s singular passion can be inspiring while also blinding them to the relationships to the people and world they inhabit. The film is neither a pure work of lionisation or exposé like many recent documentaries end up being. Garbus is able to toe that incredibly difficult and constantly shifting line that has made her one of the best in the business in working with subjects of immense cultural weight like Marilyn Monroe and Nina Simone.

From the outset, the film strikes you with a certain somber energy, constructed primarily through its voiceover interview delivery as well as the Desplat-esque score from workhorse film composers Danny Bensi and Saunder Jurriaans, furthering the Wes Anderson connection. In a documentary that uses almost entirely archival footage (which is much more effective than a constant barrage of talking heads in hotels), audio is one of two crucial elements Garbus has to involve the audience (the other being the editing), and is where the films grounds itself wonderfully. This gives the film this off-beat energy that never holds your hand into feeling certain emotions while the extraordinary footage of the Calypso’s archival footage crashes over you in waves. This is best illustrated in an early sequence where we are shown actual footage of one of Cousteau’s closest friends, a fellow “musketeer of the sea” Maurice Fargues, which felt somehow both confronting and respectful to the depths they were willing to go to achieve their insatiable goal of exploration.

Becoming Cousteau is sequenced in an interesting and poignant way, tracking the transformation of Cousteau from a young passionate man driven to conquer the unknown depths of the ocean, to a seasoned traveller tasking himself with its protection. Garbus does an excellent job shaping Cousteau’s narrative in a cinematic way, from a visionary explorer ahead of his time that was all too often used for his passions by seperate interests (the revelation that the Calypso can be directly linked to the discovery of oil on the Qatari coast felt especially heartbreaking as the film went on), that had to eventually grapple with those earlier decisions.

In the era of the docuseries, it’s hard not to ponder the idea of Cousteau needing an extended runtime to dive deeper into each step of his journey. The films 90-minute runtime oftentimes felt to be moving at warp speed through many nuggets of narrative, from his Oscar and Palme d’Or winning documentary The Silent World (1956) that did The Abyss (1989) two years after James Cameron was born, to his struggles and achievements as a conservationist in his later years. While there is a certain charm to the quick burst documentary film, Becoming Cousteau definitely falters in its execution as a cradle-to-grave story, an issue with most single subject documentary and biopic features, but works well in creating an honest portrait of an inspirational figure that gave us the gift of his own journey on film.

Becoming Cousteau is coming to select national cinemas October 22nd.

Coupon Comedy Film Queenpins is all but Funny

October 9, 2021Arnel Duracak

With Paramount + starting to kick into second gear with more content being released, it seemed fitting to check out the streaming providers latest original title, Queenpins (2021).

As its name suggests, in a rather unsubtle manner, the film is a take on the kingpin story that has been tried and dried since cinemas inception. To elaborate, there’s an idea that hits the protagonist, which ultimately leads to an illegal business involving money laundering, and then a culmination of a series of events that either see the protagonist get away with their dirty work or end up caught.

That ‘idea’ is what the film leans on for support and uses to try and differentiate itself from more serious films in the sub-genre. Connie Kaminski (played by the ever delightful Kristen Bell) finds a loophole in the supermarket coupon system where, after having complained to companies via email over the quality of their products, she is sent coupons to obtain those items for free. It isn’t until her YouTube-wannabe-star friend JoJo (played by Bell’s The Good Place co-star, Kirby Howell-Baptiste) suggests the potential to resell these coupons for half price, that Connie sees the potential to make some dough.

This is what directors Aron Gaudet and Gita Pullapilly use to try and incorporate the more comical side of the film whilst also retaining a level of seriousness of the real life events that inspired the film. For the most part, the concept of the film is actually quite comical in and of itself. Evidently, Bell’s presence brings a level of warmth to this character that works alongside the premise of the film to make her not fall into the standard anti-hero of kingpin criminal films.

Connie’s backstory also helps to bring a level of sympathy to her character as she struggles financially due to undergoing expensive IVF treatments with her husband Rick (an incredibly underutilized Joel McHale). Subsequently, while her actions of counterfeiting coupons never really becomes something that sends fear down her spine should she be caught (particularly due to the naivety shown during the laundering process), it does give a more playful version of events.

Paul Walter Hauser and Vince Vaughn in *Queenpins*

Joining Bell and Howell-Baptiste in this very buddy-up style comedy is Paul Walter Hauser and the quintessential serious-funny-guy type in Vince Vaughn. Hauser plays Ken Miller, a supermarket Loss Prevention Officer, while Vaughn plays Simon Kilmurry, a U.S Postal Inspector. Ken and Simon are the other side of the coupon counterfeiting coin as the FBI effectively demotes the issue as unimportant, and it is up to the two of them to crack the coupon case.

When spending time with Ken and Simon, the film leans into that buddy-cop type telling where the humour lies. Most of this humour comes from the very fact that the duo aren’t FBI agents, they’re serious about a coupon crime, and they have small gags that are aimed at drawing a laugh (Ken defecates in the car while out scouting Connie and JoJo with Simon). Most of these gags will either bring about a laugh or two, or simply just fall flat seeing as they just spontaneously pop up seemingly for the sake of a cheap laugh (a sign that the humour just isn’t great).

It’s easy to see that pairing the female leads together and the male leads together gives the film a lot more to work with as the actors play off of each other quite nicely when we do spend time with them. The problem with this duality is that we end up with two perspectives that seem to play out as two separate films. In essence, both the Bell/Howell-Baptiste and Vaughn/Hauser dynamic would really have worked better had they been two separate versions of this story or had we spent more time with Bell and Howell-Baptiste.

At the end though, the film banks on those back and forths between the female and male pairings. The actual coupon issue doesn’t carry enough weight behind it and just simply never feels like it raises the stakes due to how measured and composed Bell and JoJo are, even when they’ve been caught (an issue on the part of characterisation that is lacking). When all is said and done, Queenpins is a light-hearted but hardly humorous two hours.

Queenpins is now streaming on Paramount +

Black Cinema Gains a New Voice Via the Summer of Soul

October 7, 2021October 6, 2021Tom Parry

African-American directors have long used their powerful voice to admonish racism and injustice – think John Singleton, Ava DuVarney, Jordan Peele and of course, Spike Lee with his signature Joints. Newly ranking among this cohort is Ahmir Thompson, utilising long-lost footage of a monumental event to concoct a narrative of equal distinction.

In 1969, amidst a Climate of Hate in the United States, the New York neighbourhood of Harlem played host to a series of outdoor concerts, featuring musicians both prominent and rising, locally famed and internationally recognised. The free events, promoted as the Harlem Cultural Festival, took place over successive weekends during the Summer, their family-friendly façade masking an ulterior intention – as interviewee Darryl Lewis bluntly puts it, “to keep Black folks from burning up the city in ’69.”

Despite being attended by as many as 300,000 people, and earning the public support of New York City’s white, Republican Mayor, John Lindsay, press coverage of the Festival was limited, and a proposed film documenting the performances was shelved after failing to garner an investor. Multiple reels of video and audio that had been recorded for a documentary instead lay dormant in storage, unseen by the public eye for over five decades – hence this picture’s, full title, Summer of Soul (…Or, When the Revolution Could Not Be Televised) (2021).

Director Thompson, a.k.a. Questlove, is best known for his work in the realm of music, and that melodic expertise is more than apparent in his selection of performances that are showcased within the feature. Highlights include a young Stevie Wonder’s masterful playing of the drums and keyboards; Mahalia Jackson and Mavis Staples’ powerful duet of “Precious Lord, Take My Hand”; Ray Barretto on bongos trading fours with his double bassist; Sonny Sharrock wildly shredding on the electric guitar; Nina Simone’s eloquent prose in “To Be Young, Gifted and Black”; and Sly and the Family Stone’s call-and-response with the Harlem crowd.

Just about every performance that’s seen in Summer of Soul is reminisced about through present-day interviews with Festival attendees, social commentators, the musicians themselves, and a handful of celebrities with the most tenuous of links to the Festival – comedian Chris Rock being such an example. Most of the input these subjects provide amounts to little more than soundbites, but their statements are nonetheless insightful, and the fondness with which they recollect events appears earnest and genuine.

Stevie Wonder performing at the Harlem Cultural Festival, as seen in *Summer of Soul*

Not content with directing a concert film, Thompson also shapes Summer of Soul as a historical document of the African-American experience. Each performance is seceded by a brief interlude that explains, through archival footage and clips from the abovementioned interviews, the happenings in Harlem, the United States and the world that led to the Cultural Festival, demonstrating its place in a broader cultural movement of “Neo-Super Blackness” (as interviewee Greg Tate aptly describes it) and how it assisted in propelling it.

Some viewers might be baffled at this suggestion, given the lack of prominence afforded to the concerts until now. Summer of Soul hypothesises that an overshadowing of the Festival by two other events is the cause of that, said events being the Moon Landing in July of the same year, and the Woodstock Music and Art Fair, which took place the very same weekend that Nina Simone and B.B. King performed in Mount Morris Park. (In a delicious case of irony, the film treats both of these cultural touchstones with indifference.)

One gripe, admittedly minor, to be had with Summer of Soul is the varying quality of the concert footage. Video and audio of the event has been digitally restored from the original tapes, most of which looks and sounds pretty crisp; yet there are occasions when markings and damage to the recordings are rather visible, detracting from the experience. What’s needed is some further enhancement, or cleaning of the original imagery in order to truly, fully do the Harlem Cultural Festival justice.

Ahmir Thompson’s directorial debut is more than the recreation of a significant moment in history – it’s a stirring celebration of Black culture with a central message that’s just as relevant today. Possessing a voice that’s as loud and proud as the singers featured within, Summer of Soul is a documentary that ought to be seen and heard by all.

Summer of Soul (…Or, When the Revolution Could Not Be Televised) is now streaming on Disney+.

Rating Frames Podcast Episode 1

October 4, 2021October 5, 2021ratingframesau

Arnie, Darcy, and Tom return with a new podcast for their brand new site Rating Frames! On our first episode, we dive into the latest film news including a rundown on the planned IATSE strikes, how Metro and Regional Victoria have been impacted by Covid restrictions, and all of the upcoming releases we’re most excited to see when cinemas reopen at the end of the month!

The Guilty is a Stripped Back but Lacking Drama

October 4, 2021October 5, 2021Darcy Read

Shot in just 11 days through strict Covid restrictions, Jake Gyllenhaal and director Antoine Fuqua once again collaborate on a remake of Gustav Möller’s 2018 debut feature Den skyldige, with mixed results. The script, adapted by crime drama maestro Nic Pizzolatto, maintains the same structure and narrative beats from the original, but lacks the propulsive energy that made Möller’s so gripping and entertaining.

The film centres around the LAPD officer Joe Baylor (Jake Gyllenhaal) who is benched to 911 response duty during a wildfire while he awaits trial for an incident while on duty, something that is giving him extreme anxiety. His night takes a turn when he receives a call from a kidnapped woman (Riley Keough) that he takes upon himself to save. While predominately a solo performance, the film is helped out greatly by quality voice acting performances from an ensemble of actors too long to mention that help ground the film that is limited in its ways to communicate the story.

The Guilty is all about limitations and the feeling of being trapped on the other side not being able to do enough to help, and in that regard, Fuqua largely succeeds by focusing on a more vulnerable lead performance than the original. This allows the audience to engage with Joe’s situation on a more emotional level which is Gyllenhaal’s bread and butter, and must’ve appealed to him about the role.

Unfortunately, too much of the film feels like a rushed first draft of a film, and not in the endearing two takes and that’s lunch Eastwood way. There is a serious lack of experimentation and innovation in a project that desperately calls for it, being handcuffed to one character on the phone for 90 minutes, that makes the 11-day shoot painfully apparent. Maybe it is unfair to ask for more than an average movie from that absurdly short turnaround from quality creators, but the work we’ve seen from Fuqua, Pizzolatto, and Gyllenhaal in the past warrants it.

Jake Gyllenhaal consumes every inch of the frame in *The Guilty*

Coming from the perspective of someone who has seen and enjoyed the original film which screened at MIFF in 2018, it is a more interesting exercise to dive into what is added in this work of adaptation. Firstly, thematically and narratively speaking, the story is actually improved by centring around an LAPD officer, as it adds an entire history for the audience that changes the context to many scenes, especially in comparison to the original story set in Denmark.

By setting the film in LA, the audience views the actions of Joe in a profoundly different way compared to Asger’s (the lead Jakob Cedergren in Den skyldige), as we immediately question his first response in situations of extreme pressure, namely leaping to violence as the only answer. Having this seed of doubt coupled with Gyllenhaal’s rapidly deteriorating mental state is where the film truly separates itself from the original, and if given more time, may have been where a more polished version of this movie would’ve put more consideration into.

The other aspect that centred the film’s setting is the California wildfire that is present throughout the film, but is never a true character that it needed to be. The roaring fire is only present in brief mentions by officers on the phone, as well as on the large monitors that bear down upon Joe’s desk, but add no actual weight to the story or emotionality Pizzolatto was going for and is another instance of the film greatly needing more time and care to expand its ideas.

While The Guilty is a commendable film and an interesting touch point in the recent history of US adaptations of European films, it is difficult to recommend this over the original film Den skyldige, even if it is only available to rent in Australia (it is currently streaming on Hulu). This is a film that may end up being merely a footnote in the collaborative journey between Gyllenhaal and Möller, as they adapt the graphic novel thriller Snow Blind, which will be Möller’s first English-language feature.

The Guilty is streaming on Netflix now.

Annette is a Whirlwind of Ideas Mashed into one very Unique Feature

October 2, 2021October 2, 2021Arnel Duracak

Few films of recent memory have been as visually abstract and wavering in their focus as Leos Carax’s Annette (2021). It’s one of those films that leans into art-house conventions of filmmaking and asks its audience to latch onto them for dear life as the film zig-zags through a minefield of ideas, set pieces, and oddness to provide an experience unlike any other in 2021.

So where does one start with a film that is more interested in keeping its audience guessing than providing them with a clear cut narrative? Well for starters, Annette unfolds in an operatic-like showcase that echoes early French Avant-Garde filmmaking (particularly that of Jacques Demy whose influence is definitely felt). For instance, dialogue is often sung throughout the film, scenes are choreographed to play out like live theatre, and there is a particular emphasis on the unnaturalness of how the actors move through space and time.

With a screenplay by the Mael brothers (Sparks Brothers) and Carax, Annette is never short on surprises and wackiness as it leans into a romantic-fantasy-musical akin to what I can best describe as Beauty and the Beast (1991) meets A Star Is Born (2018).

At its core though, the premise of the film is a relatively simple one revolving around romance and the struggles of stardom. Henry McHenry (Adam Driver) and Ann Defrasnoux (Marion Cotillard) are both performers — a comedian and soprano, respectively. As with most celebrities, their life and personal affairs cannot escape the public eye, and Henry becomes more agitated and narcissistic as the film progresses, while Ann gradually begins to pull back and become somewhat of a muse. This is particularly true for both characters as they welcome their baby daughter Annette, into the world.

Annette herself is presented in puppet form which raises interesting ideas pertaining to artifice, especially when it comes to how Henry and Ann see the world around them. Both characters seemingly awaken following Annette’s birth in that they realise the life they have been living up until now has all been a farce so as to maintain the illusion of contentedness. Annette’s presence sees that illusion be torn down as the film spirals into a hodgepodge of visual cues, symbols and motifs that are really difficult to grapple with (oh and did I mention Annette is gifted with an incredible musical voice?).

The music of the film is also a big reason for why its zaniness works — perhaps because it was conjured up by the equally zany Sparks Brothers. With lyrics that penetrate and carry over between each set piece (especially “We Love Each Other So Much”) Carax is able to nurse the film into a level of tenderness that becomes crucial to living up to the films tragic finale. The repetition of music and lyrics has a level of sadness that brings to light the illusory truth effect where, the more something is repeated, the more likely it is an individual will believe it to be true.

But for Henry and Ann, there is a level of truth to their repetition no matter how much it seems to divide them. Carax makes this apparent by intertwining the aforementioned lyrics into very physical actions and events (i.e. Henry performing oral sex on Ann, Ann giving birth while those in the birth theatre sing). In this sense, Henry and Ann aren’t repeating for the sake of wanting to believe that they love each other, rather, as Henry lyrically asserts to Ann’s former partner The Conductor (Simon Helberg), “that song was our song”. In the same way, that love was their love — it was born out of truth and remained so, even as Henry continued to descend into a deeper low (which I won’t spoil).

The film isn’t without its shortcomings though. Carax is less interested in drawing an emotional response from audiences due to the lack of avenues from which to draw that response (at least for the first two acts), and is instead interested in using symbols and motifs (Annette in her puppet state, Ann’s distinct vocal pattern etc.) to build up the audiences understanding of events. For most of the second act, the film relies on these cues to give some sort of structure and direction to an otherwise unruly narrative. Sure, fans of Carax will band together to point out that Carax’s style is less about narrative coherency as it is about using the affordances of the medium in a Lynchian fashion, but it’s an absence, nonetheless.

Most of Annette relies on the audiences desire to be in equal parts submissive to the subversive form of the film, and to experience the film through its wandering structure. It’s a unique experience that can often feel exhausting which I have no doubt is intentional as Henry and Ann’s relationship is an exhausting one, but it’s worth taking the ride.

Annette is currently screening in select cinemas, and on Palace Home Cinema

The Mad Women’s Ball is a Deeply Compelling and Arresting French Period Drama

September 28, 2021September 28, 2021Darcy Read

Centred around the infamous Pitié-Salpêtrière Hospital during the reign of Jean-Martin Charcot in the late 19th century, The Mad Women’s Ball (or Le Bal des folles in its native french, 2021), written, directed, and starring the terrific Mélanie Laurent (who audiences will recognise as Shoshanna from Inglorious Basterds or as Two from 6 Underground), is a compelling and gripping period drama, adapted from the critically acclaimed 2019 novel from Victoria Mas of the same name.

The film focuses on Eugénie Cléry (played by a mesmerising Lou de Laâge), a wealthy and defiant woman who is desperate to experience the world around her through books and exploration, a world that to her feels as tight and restricting as a corset (more on that later). We quickly come to learn that Eugénie has the ability to communicate with spirits, in several gripping sequences that would not feel out of place in Hereditary (2018), which keep the audience on edge for the entire first act, unsure of where the story is headed.

The film turns as Eugénie’s family discovers her abilities and, out of fear, admits her to the famous hospital, in the care of neurologist Jean-Martin Charcot (Grégoire Bonnet) and head nurse Geneviève Gleizes (Mélanie Laurent). Based on previous expectation of films and novels set in psychiatric wards, we assume Geneviève will be the antagonising presence of the film, but is quickly apparent that the relationship and bond between Geneviève and Eugénie will be the driving force of the film moving forward.

It is in this two-hander that the film truly excels, with Laurent and Cléry playing off each other tremendously with a quiet electricity only the best can achieve. Laurent has experience capturing Cléry’s intoxicating screen presence in her 2014 coming-of-age film Breathe and that familiarity is immediately apparent with a creative relationship that will hopefully continue into the future.

What separates a protagonist like Eugénie from those in similar films is her undying faith in her abilities. Even while under extreme duress inflicted upon her in barbaric fashion by the doctors in Salpêtrière, Eugénie never once backs down from her belief, all but guaranteeing her imprisonment but endearing her to those around her. Her lack of doubt in what she sees is truly refreshing, not bogging the narrative down in the swamp of a protagonist questioning themselves, as their resolve is the survival mechanism they require to withstand the world around them.

Lou de Laâge and Mélanie Laurent are extrordinary together in *The Mad Women’s Ball*

The Salpêtrière is shown to us and Eugénie immediately as a monstrous place, with the howls of women echoing throughout the walls as she is dragged from her carriage – her father François (Cédric Kahn) and brother Théo (Benjamin Voisin) barely able look at her out of shame – unable to face the nightmare they have condemned her to. This is a famed hospital, the largest in Paris and known for its discoveries in neuroscience, but this film sets out to show us that within these hallowed walls, there is great pain and trauma being inflicted on the women inside, imprisoned here and experimented on in truly barbaric ways.

These acts of barbarism would weigh down most films, but Laurent is able to dull the blade of the men’s savagery through the close and careful attention given to the women Eugénie meets in the dormitory, who develop a wonderful camaraderie over the course of the film. A quietly moving moment happens after Eugénie returns from a horrific stay in hydrotherapy where we see her truly open up to the other inmates around her, embracing those she originally turned away from.

Whilst The Mad Women’s Ball is very much an actor’s showcase, there are some truly wonderful flourishes from Laurent and cinematographer Nicolas Karakatsanis. There is a beautiful use of natural lighting which was displaying throughout, highlighted in images echoing still life paintings of tea cups and hairbrushes that places the film firmly in the set period of the 19th century. It is common for actor-turned-director’s to focus on their actor to a fault, but Laurent is shown to have a clear vision for the story that is consistent and thoughtful throughout the film.

In a film full of thematic motifs and imagery, the corset stands out, climaxing in a gripping intercut sequence between Eugénie and Geneviève, removing the symbolic restrictions placed upon the two women by a patriarchal world that looks to dominate them. The scene is a climax of earned melodrama, which a lot of films fall short of achieving, but when it is captured it can be quite transcendent. The motif of the corset is established not just through the literal clothing item, but in the constant hounding from Eugénie’s father François, telling her to fix her posture in almost every scene they share, attempting to drill his ideas of appearance and respectability through societal pressures into his daughter.

This is Laurent’s largest production to date and is setup for big things next year with an adaptation of the bestselling novel The Nightingale by Kristin Hannah on the horizon next year, starring Dakota and Elle Fanning, that is sure to further launch her into the next level of her terrific filmmaking career.

The Mad Women’s Ball is streaming on Amazon Prime Video.

Greyhound: Tom Hanks Writes and Stars in WW2 Thriller

September 26, 2021September 26, 2021Arnel Duracak

With WW2 and war films continuing to permeate film culture, it is no surprise that Tom Hanks would find himself at the helm of a war destroyer in open seas. Greyhound (2020) represents Apple TV’s first proper dip into distribution of a large scale film, and for the most part, it is a clear and simple adaptation of C.S. Forester’s 1955 novel, The Good Shepherd.

The film centres around Ernest Krause (Tom Hanks), a US Navy Commander who has the mission of escorting a large convoy across the Atlantic during WW2 while German U-boats (submarines) stand in the convoys way. With air support unavailable in the central part of the journey (known as the ‘Black Pit’) due to the range, it is up to Krause and his crew to keep the convoy afloat as they carry their supplies to Allies.

Unlike Hanks’ prior performances in war films Saving Private Ryan (1998) and sea escapades like Captain Phillips (2013), Greyhound sees the two-time Oscar winning actor play a more fixed and vocal role. This isn’t necessarily a drawback of the film as Hanks’ screenplay cuts out all of the fat and exposition that often subsumes most war films, and instead settles on the action at sea and the man at its centre.

Director Aaron Schneider, known for Get Low (2009) and Two Soldiers (2003), complements Hank’s more vocal and contemplative temperament by focusing in on the tension of the battles and the ferocity of the sea. Schneider keeps most of the film centred on the bridge of the ship in order to effectively heighten the tension of each given moment and capture the spacial limitations and helplessness of being out at sea. This makes for plenty of thrilling moments as the German U-boats circle like a pack of wolves (as they assert) while Krause and his crew yell out bearings and directions.

In terms of some of the production aspects, the action and battle scenes are predominately CGI’d, but they hold up for a budget of US $55 million. Also, Blake Neely’s score complements the CGI’d battles in its low tone that has a constant sonar echo, and the dull green/grey colour palette is fitting for the period being depicted.

When comparing the film to other war films of recent like Dunkirk (2017) and Hacksaw Ridge (2016), Greyhound is more limited in its scope and ambitions. Not much is known about the character of Ernest Krause; there is a brief insight into his past as a commander at Pearl Harbour as well as a pre-Greyhound scene involving his significant other. However, for the most part, Hanks and Schneider want to keep the attention solely around the ship itself in order to immerse audiences in the Greyhound ship experience.

For what it’s worth, that on-ship isolation works in removing all the weight of narrative expectations that some might see as being essential (including yours truly). However, unlike something like the aforementioned Dunkirk, the same level of practicality that comes with a Nolan war film and the diversity of tense moments isn’t the same here. That might be due to the lack of space that comes with being at sea, or it might be the repetitive nature of the films events that Hanks and Schneider knuckle down on. Regardless, there isn’t much leg room to wiggle into backstory and character building that one might expect.

For a first major feature on Apple TV, Greyhound is rife with Navy lingo and sea battles, and with Tom Hanks at the helm, it makes sense that it received Oscar nominations this past year. As a war film, it isn’t as compelling as some of the films mentioned, but it is clear in its focus and objective and for the most part, it manages to provide an engaging viewing experience.

Greyhound is streaming on Apple TV

Infinite: Reincarnation has Never Looked so Boring

September 18, 2021September 18, 2021Arnel Duracak

With film studio Paramount having launched its streaming service Paramount +, it seemed fitting to watch its first drawcard feature Infinite (2021) starring the ever bankable Mark Wahlberg. This comes some months after Amazon Prime’s recent sci-fi thriller The Tomorrow War (2021), starring an equably bankable Chris Pratt in the lead role. While The Tomorrow War had a relatively tolerable premise, Infinite is an insufferable mess that proves studios are willing to throw their money at just about anything as long as Wahlberg is in it.

To say that Mark Wahlberg is the problem would be an oversight. His performance in Paul Thomas Anderson’s Boogie Nights (1997) is as iconic today as it was over 20 years ago, and he seems to have found a resonance with Michael Bay — having shone in Pain and Gain (2013) and the last of Bay’s two Transformers films. However, Infinite reduces Wahlberg’s often fast-talking and physical performance to a dreary and tedious display that can only be summed up by Wahlberg’s own confused facial expressions as events of the film unfold.

Antoine Fuqua is known for his action packed films like Training Day (2001), The Equalizer (2014) and frequent collaborations with the likes of Denzel Washington (who won an Oscar for Training Day), Jake Gyllenhaal, and now Mark Wahlberg (both of whom he has worked with twice). However, Infinite represents a departure from a simple action premise to something more akin to Doug Liman’s dreadful action sci-fi, Jumper (2008). It is adapted from D. Erik Maikranz’s 2009 novel The Reincarnationist Papers (which is, by all accounts, equally underwhelming).

Infinite is essentially about a small group of people known as the infinites who are pretty much reincarnated after they die, in the sense that they can eventually remember their past lives and skills obtained in those lives. Evan McCauley (Mark Wahlberg), who is known to the other reincarnated as Heinrich Treadway (one of his past reincarnation names), lives most of his new life never really knowing he is one of the reincarnated and is instead diagnosed as a schizophrenic. What Evan doesn’t know is that somewhere in his memories lies the location of an object known as the egg, which the infinites are trying to find before Ted (Chiwetel Ejiofor), another infinite who goes by the name of Bathurst, finds it.

Fuqua essentially orients his film around this plot device and creates a goose chase for his characters in the process. This plot device is desired by Bathurst who wants to harness it to destroy the world so that there is nothing left to reincarnate to — effectively rendering the reincarnation process as finished. The problem with the film is that it relies too much on this specific object as a catalyst for creating cause and effect, and this leaves the events of the film lacking substance.

Mark Wahlberg looks confused and bored for most of the film, with his real flair coming during the action set pieces, which themselves amount to nothing as they are too few and far. Chiwetel Ejiofor’s character is also incredibly underwritten and exists purely for the sake of being an antagonist — he delivers some lines about his purpose, kills off some equally underwritten characters, and is waterboarded with gasoline for some reason. In essence, both the protagonist and antagonist are uninspired, especially when compared to The Tomorrow War’s protagonist and alien entity which are miles better for an action sci-fi.

Perhaps Antoine Fuqua should have found a way to incorporate another 40minutes for greater clarity (seeing as Paramount already seemed set on going all in on this) or perhaps he should have focused on releasing one feature this year instead of two, seeing as The Guilty (2021) arrives later this year. Regardless, Infinite is a forgettable viewing experience and is a reminder that Michael Bay is still the only director to get the best out of Wahlberg in the last 20 years. Lets hope Paramount can bring its lacking streaming service some content worth audiences time and money.

Infinite is now streaming on Paramount +

Worth Tackles Questions of Loss and Tragedy in 9/11 Drama

September 11, 2021September 11, 2021Darcy Read

Releasing onto Netflix in time for the 20th anniversary of the 9/11 attacks, Sara Colangelo’s Worth (2020) asks the daunting question of valuing a human life and the emotional turmoil of asking an individual to calculate that number in dollars and cents. That is the task of Ken Feinberg (Michael Keaton) and Camille Biros’s (Amy Ryan) law firm after the tragedy of the September 11th attacks, a task only Feinberg jumps at the opportunity to pursue. Just over a week after the attacks, the US Congress passed a bill to compensate the families of those that were lost, with the promise of not suing the airlines involved in the attacks, an act we are told would sink the economy, with Feinberg’s task to be to find the right number value for this compensation.

The film is setup well and has a high level of care given to the events that tell the audience immediately the sort of 9/11 drama this will be. Yes, there will be emotional scenes with grieving families breaking down in law offices, but the film will not confront you with the horrors of the events, that is not where its interests lie.

Keaton is a standout here, having an impressive command of the film while never being flashy, maintaining a consistent and measured demeanour, never wanting the emotional weight of tragedy the job requires to cloud his judgement. There are no “they knew!” scenes of emotional release that Spotlight had here – which won’t help it come awards season – the emotion of the film instead was carried through the circumstances and the testimonies of the families, an aspect Colangelo never abused, peppering these scenes in to create a measured flow to the film.

But this was no one-man show. The whole cast was excellent and individualised, especially Amy Ryan and Shunori Ramanathan, who at times were given the task of grounding and transferring the emotional weight of the film from the families to the firm, something she did with a certain energy and grace that was quite remarkable. It did on occasion lean too heavily into the tropes of the grizzled boomer man needing to be taught empathy by the women in his life, but the performances of Keaton, Ryan, and Ramanathan ground it just enough to avoid falling over.

Colangelo and cinematographer Pepe Avila del Pino (who worked together on Colangelo’s complex previous film The Kindergarten Teacher) also created an engaging and compelling visual language to Worth that should be celebrated. There’s a heavy use of negative space throughout the film, emphasising the isolation the lawyers are feeling as they attempt to connect with different parties, as well as an interesting use of centre framing, something quite unique in this sort of biopic film that stylises it in a singular way. Too often movies of this nature focus too much on dialogue in dull fluorescent lit offices and ignore the infinite ways filmmaking techniques can communicate a theme and emotion that makes the best films so impactful.

Stanley Tucci and Michael Keaton’s pivotal confrontation in *Worth*

One area that didn’t feel as considered as the framing, however, was the haphazard score, with different styles being thrown around between very quiet and sterile scenes. Even with the musical connection of opera and classical music being formed between Keaton and Tucci’s characters, this bond is never felt on a filmic level, with some score choices feeling at odds with the nature of the scenes they are intended to accompany. Compare that to Spotlight, something impossible to ignore throughout the film, which has one of the best scores of the 2010s by legend Howard Shore. What makes that score transcendent isn’t the flashy, rousing orchestral moments we usually attribute to the best scores, but in how well it connects to the film it is contained within and elevates in its emotional weight, something Muhly’s score falls short on.

The Shore score is measured, inquisitive, and almost mourning, matching and amplifying the tone of the film. The Muhly score, however, feels disjointed with its use of different instruments and styles with no real sense of cohesion between pieces, and rarely matched the emotional stakes of the scenes they were in which limited the film’s ability to transcend the more cliche and typical aspects of the film. It may feel harsh to harp on just this one aspect of the film but it feels a microcosm for the issues of the film and what holds it back from being great.

Worth is an admirable film that is considered and thoughtful about an important time in our history that needs to be viewed more closely and has set Colangelo up for a potentially long career oscillating between indie and studio filmmaking. It’s worth your time. (I couldn’t help myself.)

Worth is currently streaming on Netflix.