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Written by Matthew Toomey

Created: 04 March 2024

When Hollywood makes coming-of-age tales centred on teenagers, the tendency is to cast actors who act and speak like 35-year-olds.  That’s not the case with How to Have Sex, the debut feature film of British director Molly Manning Walker.  In addition to winning the Un Certain Regard prize at last year’s Cannes Film Festival, it recently picked up a nod for best British feature film at the BAFTA Awards (losing to The Zone of Interest).

Mia McKenna-Bruce (Persuasion), Lara Peake (Mood), and newcomer Enva Lewis star as Tara, Skye, and Em – three 16-year-old Brits who have gone on a “schoolies” style island holiday to Malia in Greece.  They annoyed the hell of me… and I intend that to be a huge compliment.  Speaking as a 46-year-old guy who is out-of-touch with the youth of today, I saw these young women as frustratingly hyperactive and immature.

It’s the first time any of them are experiencing the independence of being away from their parents on an overseas holiday and their goals are to get as drunk and laid as possible.  They write themselves off on the first day, and it reaches the point where they’re vomiting in the gutter while simultaneously saying how much they love each other and will be “besties for life”.  It’s a pattern that continues for several evenings as they sleep off their hangovers, lounge by the resort’s pool, and go out drinking again (oblivious to any lessons from the night before).

There’s a more important layer to Walker’s film which is disturbing and thought-provoking.  Tara is the only virgin of the trio and, feeling pressure to remove the tag, she drunkenly hooks up with a British kid (Bottomley) staying in the room next door.  It’s an uncomfortable encounter which raises questions about sexual consent.  It leaves Tara rattled and over the next few days, her personality shifts as she reflects on what took place and whether anything needs to be said.

This is a very good film.  In addition to its core theme, it has something to say about party culture (there’s a head-shaking scene involving a public blowjob), peer pressure, jealously, responsibility, the impacts of alcohol, and the importance of friendships.  Walker covers all of this inside a tight 91 minutes.  What you ultimately take away from the movie will depend on your own age and experiences.  The natural performances of the actors, often talking over the top of each other, give it the vibe of a documentary.  This adds to the emotional impact.

How to Have Sex is not to be missed.

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Written by Matthew Toomey

Created: 26 February 2024

The 96^th Academy Awards are less than two weeks away and, in addition to capitalising on the popularity of the year’s best features, it’s a chance to celebrate other parts of the industry.  For example, a select number of cinemas across Australia are screening the wonderful short films, both live action and animated, which have been nominated this year.  It’s a rare chance for audiences to see “shorts” in the comfort of a big-screen theatre.

The same applies to documentaries.  As proof the Academy’s eyes are opening to a world outside of the United States, 2024 marks the first time in history that all five of the nominees for best documentary feature have come from outside the United States.  The subjects include a Ugandan singer trying to become President, a Chilean journalist battling dementia, an Indian farmer seeking justice for his raped teenage daughter, and a Ukrainian documentarian chronicling the war in his home country.

The final nominee is Four Daughters.  It’s centred on Olfa, a single mother from Tunisia who, as a result of mistakes she will freely admit, saw two of her four daughters leave home and join the Islamic State in Libya.  It fractured the family (obviously) and became an international media story.  It reached a point in 2016 when Olfa was appearing on television news programs and criticising her own government in allowing Islamic State “recruiting” to take place.

Tunisian filmmaker Kaouther Ben Hania takes an interesting approach to the material.  She conducts open, honest, tear-jerking interviews with Olfa and the two younger sisters who stayed in Tunisia.  Amongst these discussions, Ban Hania includes re-enactments where hired actresses play the two older sisters and a “stand-in” mother steps into the shoes of the real-life Olfa when things become too heavy and emotional.  We also follow the actors as they prepare for scenes and understand their characters.

Instead of a straight-forward narrative, Four Daughters has the vibe of a movie which is part documentary, part dramatization, and part behind-the-scenes filmmaking.  There are times when you’re not certain which category a particular scene fits into.  Am I watching two characters argue for real… or is it prep for a scene?  As explored in the recent May December, there’s also the challenge in working out how to depict the characters (emphasis on the mother) and settle on a version of the truth that the majority can agree upon.

While I like the creative approach, I don’t think the film offers a full understanding of the two older daughters and the way they were indoctrinated into Islamic State.  Reading a few online articles, as I have done, will help fill in the knowledge gaps.  I don’t think Four Daughters will win the Oscar (20 Days in Mariupol is a firm favourite) but it’s nice to see its audacity recognised by the Academy in receiving a nomination.  Check it out.

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Written by Matthew Toomey

Created: 04 March 2024

In June 2014, news outlets across the globe were reporting on the hilarious true story of Bernard Jordan, an 89-year-old World War II veteran from England who attended the 70^th anniversary of the “D-Day” Normandy Landings in France.  Thousands attended the commemoration event, including Barack Obama and Queen Elizabeth II, but what made his story special is that he didn’t have a ticket and wasn’t supposed to be there!

Jordan snuck out of his nursing home in East Sussex, caught a train to Portsmouth, and got the ferry across the English Channel.  His wife, Irene, knew of his whereabouts but no one else at the nursing home was in the loop.  When his disappearance was noticed by staff, it reached a point where local police officers were scanning the town for any sight of Jordan… unaware he was hundreds of kilometres away.  The truth finally became known and, as a big-hearted feelgood story, media attention ensued.

The one major reason to see the film is to celebrate the talents of British stars Michael Caine (The Cider House Rules) and Glenda Jackson (Women in Love).  It’s impossible to fully articulate their work in a single paragraph but their list of achievements speaks for itself.  The 90-year-old Caine, who has stated this will be his last film, is a two-time Oscar winner who was knighted by the Queen in 2000.  Jackson, who passed away last year at the age of 86, was one leg shy of the coveted “EGOT” having won a Tony (once), an Oscar (twice), and an Emmy (thrice).

The best scenes in The Great Escaper are those where these two share the screen.  This is most evident in the final sequence where Caine, who steps into the shoes of Bernard Jordan, talks to his wife about their long lives, lessons learned, and their pending mortality.  It feels like the perfect epilogue for their characters… and the actors themselves.  The spirited debate between the pair provides humour and food for thought.

Sadly, the remainder of the film is underwhelming.  Much of the 96-minute running time is spent following Jordan in/enroute to France as he interacts with an assortment of weakly developed veterans.  Quick World War II flashbacks try to create a sense of what’s going through Jordan’s head, but they offer little emotion or background.  Every 5 minutes or so, we cross back to England to see the spirited Irene stirring up the nursing folk employees but similarly, these slight moments aren’t building on the broader narrative.

I’m not convinced there’s enough material to warrant this feature length film, but screenwriter William Ivory (Made in Dagenham) and director Oliver Parker (Othello, An Ideal Husband) have given it their best shot.  The Great Escaper isn’t trying to be anything profound or hugely memorable.  It’s a formulaic, simple narrative told in a straight-forward manner with the goal of putting a smile on your face.

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Written by Matthew Toomey

Created: 21 February 2024

When asked about my favourite filmmakers, my list always includes Ethan and Joel Coen.  I was first introduced to their work in 1996 with Fargo and have since been wowed by the likes of The Big Lebowski, Intolerable Cruelty, No Country for Old Men, and Burn After Reading.  Just like a successful music band, Wikipedia and the broader film world sees the duo as a single “Coen brothers” entity given the challenge in differentiating the artistic contribution of each.  Of the 13 Academy Award nods they’ve received, 12 were joint nominations.  The only exception was Fargo when different rules were in place preventing two directors being credited (Joel therefore was director while Ethan was producer).

It’s therefore weird to be talking about the pair in isolation.  Joel directed his first feature independent of his brother in 2021 (The Tragedy of Macbeth) and Ethan is now doing the same with Drive-Away Dolls.  Can I still call them Coen brothers movies?  If you’re worried why they’re doing their own thing, there’s no need to fret.  The 60-something-year-olds are still close and plan to work together again soon but for now, they each wanted a short break to pursue projects of personal interest.

With a runtime of just 84 minutes, Drive-Away Dolls is a short, slick comedy set in 1999.  It follows two young women, Jamie (Qualley) and Marian (Viswanathan), who embark on an impulsive, 2-day road trip from Philadelphia to Tallahassee to kick start a new life.  They grab a vehicle from the surly manager of a car-hire company (Camp) but, unbeknown to the women, there’s a silver briefcase hidden in the trunk which gangsters are looking to get their hands on.

The story doesn’t quite come together in a way which maximises humour.  The punchline is a good one (I won’t spoil it) but the scenes along the way involving the inept criminals are a too “one-note” and highlight the slight narrative.  The better subplot is the romantic one which develops between the chatty Jamie and the timid Marian.  These two couldn’t be more different in terms of personality but, in spending several days together, they gravitate towards a middle ground where each takes on attributes of the other.

In the same vein as a classic, low-brow American comedy, the film also has a few decent scenes which don’t advance the plot… but generate laughs regardless.  The best involves Jamie and Marian befriending a female soccer team after a food-related detour and it showcases the comedic timing of stars Margaret Qualley (Once Upon a Time in Hollywood) and Geraldine Viswanathan (Blockers).  Having names like Colman Domingo, Matt Damon and Pedro Pascal on the poster might add to the box-office but for fans of their work, keep your expectations in check as their involvement is negligible (feels like they shot all their scenes in one day).

It takes a little while to get going but if looking for a quick, entertaining comedy with a splash of outlandishness, Drive-Away Dolls offers enough.

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Written by Matthew Toomey

Created: 28 February 2024

It took longer than expected to reach this point.  Firstly, some folks weren’t aware (before its release) the 2021 movie was only one-half of Frank Herbert’s book, and they’d need to wait for the climax.  Secondly, the Hollywood actors’ strike created marketing woes which saw the arrival date for Dune: Part Two pushed out by four months.  Considering the first instalment grossed over $400m USD internationally and won 6 Academy Awards, expectations are high.

Director Denis Villeneuve (Arrival) doesn’t muck around with flashbacks or gentle character reintroductions.  We’re straight into the action with Part Two and background knowledge is essential.  We continue to follow the journey of Paul Atreides (Chalamet), a handsome, nimble warrior who resides on the desert planet of Arrakis and has uncontrolled visions of the future.  Against the advice of his own mother (“your father didn’t believe in revenge”), he goes after the villainous Baron who murdered his dad and other close friends (a plot point of the first film).

It’s clear that Villeneuve, working with co-writer Jon Spaihts (Prometheus), wants this to be more than just action and entertainment.  He delves into an array of interesting themes including the pros and cons of religion, the ability to change one’s predetermined destiny, the realities of colonialism and “white saviour complex”, and the ways in which power invariably leads to suffering (we can’t all be happy no matter who is in charge).  I can’t say I was ever bored, and the 167-minute run time is justified given what needs to be covered.

It’s not perfect though.  In covering several narrative points in depth, like Paul’s continual unwillingness to be seen as a liberator to the native Fremen people, other subplots are rushed and undercooked.  One example is Florence Pugh (Little Women) who plays the sage daughter of the universe’s leader.  She’s introduced in the opening scene, but her purpose and fate (won’t spoil) is difficult to reconcile given we know so little about her own background and political persuasions.  The same could be said of a character played by Léa Seydoux (Blue is the Warmest Colour).

My quibbles are minor is the big scheme of things.  Just like its predecessor, Dune: Part Two deserves its “see it on the big screen” tag and is to be celebrated for its production values – particularly the sets, costumes, and Hans Zimmer (Interstellar) music score.  The visual effects are evident but they’ve bee used to create sequences which are crisp, bold, and striking.  A moment in a packed, grey-coloured arena is a case in point.

Boasting great performances which aren’t too shouty and overdramatised (loved Timothée Chalamet again), Dune: Part Two is an engaging epic that will satisfy thirsts.