Tag Archives: anxiety

Mini movie reviews for the weekend!

I live on an island, and I have to get a boat to see most of the cooler stuff on at cinemas. But with movies coming out so fast on digital platforms and DVD, why spend all that money on choppy trips to the multiplex?

Flatliners 

How did the Oscars miss this little gem about five medical students stopping their hearts to experience the afterlife?

It starts out strong thanks to a talented cast including Ellen Page and Diego Luna. Keifer Sutherland cameos but he’s not reprising his role from the original and imparting any wisdom like “Don’t stop your hearts!” so it seems pointless.

With such a great cast, I’d have loved a dark psychological drama about ambitious, cutthroat young medics playing God. Sub-par horror.

Ingrid Goes West 

Aubrey Plaza gains your sympathy and alarm as a woman with an unspecified mental disorder whose only meaningful connection comes via Instagram. With inheritance money she heads to California to trick her way into insta-star Taylor Sloane’s seemingly perfect life.

But where Instagram is just a career tool for blandly commercial Taylor, for needy Ingrid it’s toxic. After a suspenseful and sun bleached hour of social media satire, the final act becomes more of a “psycho” thriller, and possibly sends confused messages about mental health.

The Limehouse Golem

The late Alan Rickman was set to lead this lurid, Ripper-style mystery, until his illness meant Bill Nighy took over as the elegant Inspector Kildare, investigating the grisly Limehouse murders.

Music-hall star Lizzie Cree is on trial for killing her husband – who Kildare suspects may have been the infamous Golem. Hoping to save the angelic-looking accused from the gallows, he dashes around an atmospheric Victorian London (it’s a treat to see Karl Marx pop up as a suspect).

An entertaining spin on the never-subtle dead prostitute genre. Nighy is softly restrained, but Olivia Cooke – who looks like a cross between Carey Mulligan and Jenna Coleman – is the standout.

Victoria & Abdul 

Queen Victoria had her summer home, Osborne House, on the Isle of Wight. She holidayed here with her family, and it’s where she retreated during her long mourning for Prince Albert.

The widowed Queen’s relationship with John Brown was dramatized with Judi Dench and Billy Connolly in 1997. Dench returns opposite Ali Fazal as Indian manservant Abdul, who incited jealousy and panic among her household and the imperialist government, including son Bertie (Eddie Izzard).

Dench’s frail old lady might be Empress of India, but she’s outlived her loved ones, and feels trapped and lonely. It’s a devastating depiction of old age. I think it’s meant as a feelgood, comedy-drama like The King’s Speech, but the larky tone and silent comedy jar with the classism and racism of the British Raj.

Viceroy’s House 

Following WWII, the British Empire was dying, and Victoria’s great-grandson Louis Mountbatten was dispatched to the Indian subcontinent to bury the Raj with dignity.

The 1947 partition of India triggered one of the bloodiest upheavals in history. Here it gets the Downton Abbey treatment, with a fictional ‘upstairs, downstairs’ romance between two servants in the Viceroy’s palace. It’s a stately, well-lit costume drama. Not my cup of tea.

mother!

Jennifer Lawrence is in an unpleasant relationship as dutiful wife to selfish creative Javier Bardem. When her quiet home is invaded by uninvited guests Ed Harris and Michelle Pfeiffer, Bardem won’t tell them to shove it, much to Lawrence’s dismay.

mother! feels like a bad M. Night Shyamalan, before it becomes an unmistakable Darren Aronofsky fever dream. An ambitious climate change allegory which draws incoherently on the Bible, it’s messy and chaotic, but JL is a force of nature.

All the Money in the World

This is where they recast Kevin Spacey with Christopher Plummer so that audiences and Oscar voters wouldn’t be distracted by the misconduct allegations against the former. It’s based on the 1973 kidnapping ordeal of tragic John Paul Getty III in Italy, and how the boy’s tight-fisted billionaire grandpa had to have his arm twisted to pay the ransom.

Of all the movies I’ve just reviewed, this is the one with the most general appeal. It’s watchable, but there’s something airless about it.  It’s strongest point is Michelle Williams and her chemistry with negotiator Mark Wahlberg.

 

NETFLIX REVIEW: To the Bone…

to-the-bone-sundance-e1495026297494-03To the Bone opens with two alien stick figures walking down a bright corridor. It’s peaceful, as the beings glide from the light towards the camera.

….and into a group therapy session/art class. A girl is feigning righteous anger at magazines for promoting thinness, when a sarcastic voice interrupts.

“Ugh. Society’s to blame. The world is so unfair. I have to die.” Meet Ellen (Lily Collins), a twenty-year-old anorexic artist bored out of her mind. “There’s no point in blaming everybody. Live with it,” she sneers, before holding up a crude sign saying “suck my skinny balls.”

Not eating makes you cranky. The anorexic Queen of Shade – in off-duty model chic – goes to the middle-class Californian home of her stepmother and half-sister, where she does sit-ups, counts calories, and misses meals. Anorexic stuff.

Ellen’s mother and her lesbian partner are living at their ranch in Arizona and “feeling blessed” on Facebook. Ellen’s father is always working, and interestingly, he’s never onscreen.

His wife, Ellen’s stepmom, played by Carrie Preston, is the driving force behind finding a new specialist, Dr Beckham. He’s described as ‘unconventional’, although it’s not clear why. Perhaps because he’s good-looking and played by Keanu Reeves. He agrees to treat Ellen, as long as she is admitted as an inpatient.

She moves to Threshold, a facility for young people with anorexia and other types of eating disorder such as bulimia and binge eating disorder. Here she befriends a young Brit patient named Luke, who is an annoying show-off. He already knows who Ellen is, thanks to a whole angsty subplot about her Tumblr artwork supposedly inspiring a girl’s suicide.

Family therapy with Keanu Reeves proves to be a waste of time, although it does allow the film to communicate the contemporary understanding that eating disorders are complex conditions with no single ’cause’. The film is also good at portraying the powerlessness and frustration that families often feel.

Viewers are likely to be as confused as Ellen’s sister, wondering why she doesn’t “just eat.” Anorexia is abstract and internal. Films can show emaciation with weight loss, body doubles, makeup and CGI. But anorexic thoughts, or a compulsive urge to get ‘down to the bone’, is a challenge for storytellers.

Perhaps anorexia could be better explored through fantastical, less literal means. To the Bone’s opening moments promised something more creative, and Ellen’s out-of-body experience where she sees her malnourished form with a different lens also had the inkling of something more original.

As balance, there’s a cringe-making dance scene that goes on forever, as artsy dance scenes tend to do.

Verdict: Lily Collins proves there is more to life than being beautiful and the product of nepotism. To the Bone is a conventional teen drama, with a message of hope, recovery, and fighting for your own identity.

Book Review: The Girls by Emma Cline

The Girls was one of the biggest, most hyped books of 2016. Debut author Emma Cline’s manuscript sparked a bidding war and was optioned by a powerful Hollywood producer long before it even reached shelves.

Amy Adams-lookalike Cline is young, enigmatic, and like the heroine of her novel, grew up in sun-kissed California. Her coming-of-age tale however is set during the late sixties, and is sensationally inspired by the infamous Manson cult and their brutal murders.

girls

The stroy is seen through the eyes of 14-year-old outsider Evie Boyd. Her parents are newly divorced; her father is living with his young girlfriend in another town, while Evie’s mother is busy dating and following every New Age trend going.

Evie studies the studio portrait of her late maternal grandmother, a famous, beautiful actress. “The realization was bracing” she thinks, “we looked nothing alike.” Poor Evie has a dour best friend who finds a new best friend, who then throws a drink in Evie’s face.

Crippled with insecurity and at a loose end, Evie’s the kind of girl whom Russell Hadrick preys on. He’s teaching his followers about a “new kind of society”, one that’s “free from racism, free from exclusion, free from hierarchy.” Only it’s not Russell, but his teenage lieutenant Suzanne, who holds a dark glamour for Evie. Girls tend to be more obsessed with each other.

Some of the girls in thrall to Russell have vague histories of abuse and violence, but Suzanne’s a sly one – her past and her motives and feelings for Evie remain obscure.

During her long summer at the group’s decrepit ranch, Evie becomes a little less passive, acquiring coarser edges from Suzanne and the others as they scavenge, steal, and drop acid.

It’s been compared to Curtis Sittenfeld’s Prep, which was also a queasily authentic look at the horrors of being a teenage girl. The section with an older Evie aren’t so successful – Cline perhaps struggling to capture the mind of someone older then herself.

It would be a bleak and weirdly woozy debut about the forces that shape and ruin girls’ lives without the cult-murder backdrop -although perhaps it wouldn’t have been so hyped. I’m just glad I finally crossed it off the reading list.

Heroines in space entertainment: Star Wars, Gravity, Prometheus

[*Update 20/10/16* I’m hoping more readers will find this post as we approach the release of Rogue One, which, like The Force Awakens, will star another female lead. Will Jyn Erso be as big a success as Daisy Ridley’s Rey?]

The Force Awakens is released this week!

And the latest installment of Star Wars looks set to have more active and intriguing female characters than either the originals or the prequels. Oscar-winner Lupita Nyong’o and Game of Thrones’ Gwendoline Christie will appear alongside the female lead, newcomer Daisy Ridley.

The production has been shrouded in secrecy, so little is known about their roles – but in honour of The Force Awakens, here are my favourite movies set among the stars, and the heroines they feature…

Prometheus (2012) 

It probably helps that I’m no scientist.

In fact, I was terrified of the school lab because of all the stories other pupils told me about accidental immolation and experiments gone wrong. Besides, the teacher was as scary as the Engineer Noomi Rapace tangles with in this Alien prequel.

Perhaps because of my unscientific bent, I can ignore some of the sillier twists, errors and logical issues in Prometheus.

I mean, I can appreciate that having an 8ft alien land on your abdomen after you’ve had a caesarean might hurt a bit more than it seems to here. Or that hand-to-hand combat, rappelling and running might be a tad impossible after surgery.

But while Rapace’s archaeologist Elizabeth Shaw isn’t as hard-as-nails as Sigourney Weaver’s Ellen Ripley (the “no weapons” stance to exploring an alien planet is annoying), she is a woman of epic determination.

She leads an expedition of doomed idiots to answer the biggest question of all: Why are we here?

Once the feeble team have been picked off, she dusts herself down and as the only mortal survivor of Prometheus she continues her quest for knowledge and truth.

The Empire Strikes Back (1980)

The Danish pastry hair buns debuted by Leia in Star Wars and the metal bikini she wore in Jedi are iconic. But I’ve always admired the white jumpsuit and loopy-braid hairdo combo she showcased on Bespin’s Cloud City, complete with blaster.

It’s a practical but chic get-up for her roles as soldier, spy, royal and diplomat.

Despite Carrie Fisher’s recent admission that she was, in fact, higher than the stars when she filmed Empire, Leia is at her best in this movie.

In the first film she’s a brash rebel who witnesses her entire home planet destroyed. By the final film, although still committed to her cause, she appears softer – much like Padme in Revenge of the Sith.

In Empire she is as combative as Han Solo, while starting to show actual feelings for the scene-stealing smuggler.

And given what we’ve been told about the development of the Star Wars plot, there are some uncertain nods to her true identity and origins.

While her brother has a reputation as one of cinema’s greatest whiners, and there are real moments where it looks like the men might not make it, there’s never any doubt Leia is a survivor.

Gravity (2013)

Watching Sandra Bullock spin through space, I unfortunately discovered that Gravity triggers vertigo, so it’s definitely not one I can go back to watch again and again.

Balance issues aside, this is a beautiful and thoughtful drama. Given the hype, the seven Oscars, and the theme of sheer adversity, I wasn’t expecting the movie to be so tender.

Grief-stricken following the loss of her young daughter, newbie astronaut Dr Ryan Stone finds herself stranded after debris wrecks her space shuttle. She must contend with a dwindling air supply, no communications with mission control and the loss of George Clooney.

Gravity is not sci-fi, and the fact that Stone is from our own present-day earth with our real technological limits makes her even more engaging than a character in a futuristic or fantastical setting.

Stone is self-reliant. She is human. She hallucinates and loses the will to live – and then summons it again.

The movie’s message is never give up, and that through perseverance you can achieve the impossible.