By Nadia Ranaputri

Image credit: IMDB

Director: J. Blakeson
Cast: Rosamund Pike, Eiza González, Dianne Wiest, Peter Dinklage, Chris Messina, Isaiah Whitlock Jr., Alicia Witt.

"There are two types of people in this world: the people who take and those getting took. Predators and prey, lion and lamb," a line that sets the stage for J. Blakeson's I Care a Lot fairly well. Just from that monologue, you can tell you're about to get a face to face with the predator herself. Honestly, I didn't really know what to expect out of a film like this, but the prospect of seeing Rosamund Pike in another fierce role is enough to convince me. And in the opening monologue, she's more than fierce, but condescending and menacing, like she's spitting out her defense of her vile actions in a way that sounds calm from the outside, yet it's filled with a bitter kind of mirth.  "I've been poor," she charges on, "it doesn't agree with me."

I Care a Lot is about con-woman Marla Grayson (Rosamund Pike), seen convincing a jury to keep an elderly under her care after the son of said elderly is unable to visit her in the nursing home that Marla so "generously" put her in. Being the con-artist that she is, Marla makes a living as the appointed guardian of the elderly under the guise that they are unable to live without assistance, then turns their lives into a living hell without them even knowing it by draining them of their own funds as they remain confined in the nursing homes, barely able to see their own families. With the help of her assistant and lover Fran (Eiza González), as well as a corrupt doctor, Karen Amos (Alicia Witt), who's willing to lie to do Marla's bidding, Marla practically has the world wrapped around her fingers. That is, until she encounters wealthy elder Jennifer Peterson (Dianne Wiest), who according to Dr. Amos, has no direct relative, making her an easy target for Marla. However, Jennifer isn't who she seems to be, and Marla soon realizes that meddling with Jennifer has dire consequences, particularly with her direct ties to a certain Mafia boss.

I Care a Lot starts off very promising. Besides all that stylized visuals, the first half plays out like a quiet thriller, which was for the most part, incredibly riveting and very entertaining, especially when Rosamund Pike is donning an Amy Dunne-esque character, just with more subtlety. Seeing her tear through the system and toying with it like it's her playground is more than enough to hook you in. We can all agree that Rosamund Pike kills it in almost every role, right? Gone Girl practically proved that Pike can really elevate a film when given the right role. For this film specifically, Pike's performance as Marla is what drove and carried the entire film. Even with the film's underwhelming opening monologue, she still manages to deliver those lines to perfection. Interestingly, it plays out a little like American Psycho, where Pike's Marla is somewhat of a Patrick Bateman clone, but without the murder. Still, Marla makes for an equally terrifying villain in the beginning, even with that steady demeanor that manages to sway most people into doing her bidding. But behind that facade, as we see later in a scene after she successfully convinces a judge to fulfill her devious request, there's also a slither of venom in her, the one that strikes hard, and quickly retreats as soon it attacks. By cloaking her malicious intentions behind sickly sweet words, Pike's delivery and performance makes her a character you'd love to hate.

Image credit: IMDB

I went into this film not knowing much about it, though I wouldn't say I had particularly high hopes. But surprisingly, it was sleek and a little clever for the first half of the film. So what does I Care a Lot have to say? Well, it portrays a dark side of capitalism, where to really make it in the land of dreams, you either become the predator or the prey. Of course, Marla fits into the role of the predator snugly like a glove, or "a fucking lioness" as she calls herself. The elderly sadly, are the poor helpless prey in her wicked scheme. To see them being hauled away to a nursing home against their own will, not knowing that their funds are being drained while they lose contact with the outside world and never seeing their loved ones again is quite the petrifying sight. When Pike's Marla comes through that door, all smug and smiles, striding in like a femme fatale, but with words as her weapon as opposed to actual weapons; it's over for them. That's what the the first half of the film (maybe the first 70 minutes to be more precise) is going for. Then it really ramps up when one of Marla's supposed victims turns the tables on her. It's here where the film really peaked, and to be honest, I was very intrigued to see how the film plays out, because when you're put in a position like Marla, how on earth are you going to make your way out of it? However, before the film could reach the top, that's when it faces a downward spiral.

Now, while the first half was all style and had plenty of good substance to work with, the second half is an entirely different film, but not in a good way. For some reason, it felt like it was pulling a complete reverse of films that tend to balance different genres and switch from one tone to another. But while many of those films succeeded, there are bound to be ones that don't, and unfortunately, I Care A Lot joins the latter. It started off great, then went downhill from there. When the first half established the story in this very stylish and entertaining way where you're eager to see what it's going to do next, the second half just diminished that and suddenly, it forgets what it sets out to do. The second half is absolutely ridiculous, and I spent most of that time wondering what the hell this film is trying to achieve. Think of the first half like Mean Girls, where, as Cady Heron says it, "all the fighting had to be sneaky," and that's exactly what it does. Then you have the second half, which I consider as the Mean Girls 2 of the bunch, where it throws a lot of the things that made the predecessor good in the first place and becomes something that it isn't. Now put that together into one whole film, and you have I Care a Lot. There's nothing wrong with a film that switches its initial tone entirely as it goes, it's just that there are plenty of films that did it a lot better than this. 

Image credit: IMDB

The most unfortunate thing is that it was going for the anti-hero type of story, which could have given it a whole other layer. When a film with anti-hero is done right, it could be magnificent, it challenges and questions the audiences' own moralities. But this? Not so much. While the character of Marla was well-established in the introduction, her characterization in the film's second half is all over the place, and everything that made her interesting in the first place was no longer there. Eventually, you're not as invested in her character as you were in the first hour or so. In fact, I was much more interested in Fran than I did with Marla, even though Fran had less to do in the story than her. It's such a missed opportunity, especially if you have freaking Rosamund Pike, as your lead (I'm putting it in bold to emphasize how much of a missed opportunity it is when an incredibly talented actress like Pike is wasted in a messily written role). Even Dianne Wiest was so underutilized that Charles Boyle from Brooklyn Nine-Nine would probably file a complaint to the screenwriter for not making the most of out of Wiest's character. Then there's Peter Dinklage and his mafia posse, and I'll leave it to a Helen Shaw's review at Vulture to describe them, which was that they "bobble weapons, hurl smoothies, and wear costumes so loud I apologized to my downstairs neighbor." That should probably tell you enough about their characters.

I think the best way to watch I Care a Lot is to...... not really care a lot. It sounds a little odd, but if you stopped caring about a lot of the things that happens in the film, it may just be much more enjoyable. Is it an ideal way? Not really. Based on my experience though, watching it for the second time without looking into it that much made it more enjoyable, but it's nothing to write home about. However silly the film gets, it's not a Transformers level turn-off-your-brain kind of film, at least you can see that there's still more care and effort put in to I Care a Lot in terms of story, visuals, and characters than a mindless Michael Bay action film. I'll give it its points for being somewhat unashamed of its wild and uncanny nature that it gives in the second half. While it's all over the place, and you can certainly enjoy all the eccentricities it has to offer; you're left wondering how it even got to that point. There's many ways you can take a malicious character like Marla, who you aren't really supposed to root for, and give her a compelling character development, yet the film opted to do anything but that. With the premise of a con-woman going head-to-head with her toughest case yet, it provided an already interesting conflict. Unfortunately, it results in a goofy, weird, and messy film that feels so emotionally distant, that any sign of empathy or investment you even had in the beginning are eventually thrown out the window by the time it ends.  

Image credit: IMDB

Stars: 2.8/5

I Care a Lot is available to watch on Netflix

By Nadia Ranaputri

Image source: WBUR

Director: Shaka King
Cast: Lakeith Stanfield, Daniel Kaluuya, Jesse Plemons, Dominique Fishback, Darrell Britt-Gibson, Martin Sheen.

There's an art to a good trailer, the excitement for a film could depend on how well the trailer is. I don't know what it is, but when I find a trailer that really catches my attention, it sticks with me for quite some time. Trailers like Man of Steel, Mad Max: Fury Road, and perhaps one of the most iconic ones, The Social Network, are made to near perfection, I would revisit them from time to time. Where am I heading with this? Well, Judas and the Black Messiah is the latest addition to the group of incredibly made trailers that instantly convinces you to see a film. Add in potential powerhouse performers like Lakeith Stanfield and Daniel Kaluuya, and it became an absolute must-see for me.

Judas and the Black Messiah is a historical biopic centered around the infamous Fred Hampton and fellow FBI informant William "Bill" O'Neal. Set in the late 1960s, William O'Neal (Lakeith Stanfield) is first seen impersonating an FBI agent and unsuccessfully attempts to hijack a car. Upon his arrest, O'Neal is faced with a very real FBI agent, Roy Mitchell (Jesse Plemons), who offers him a deal: work as an informant for the FBI in exchange for release from all charges against O'Neal during his stint as a criminal, including the chance for him to evade jail time. His main job? Infiltrate the Illinois Black Panther Party, retrieve as much information as he can, and get as close as possible to the group's deputy chairman Fred Hampton (Daniel Kaluuya), whose motivations and cause is considered a potential threat to the country by the FBI. O'Neal eventually becomes the middle ground between the Black Panther Party and the FBI, which leads him to face a harrowing moral struggle and a slow-stirring paranoia.

Let's talk about Lakeith Stanfield and Daniel Kaluuya, because we absolutely need to. Their performances here bring the film to a whole other level, especially Kaluuya as Fred Hampton. Kaluuya dominates the floor every time he comes on screen, and his performance doesn't just sweep the floor, it destroys the floor, it completely diminishes it until it's no longer there. It sounds like an exaggeration, but that's how powerful Kaluuya's performance is in this film, it's one that deserves every bit of recognition. The scene where he delivers an exhilarating speech that ends with the chants of "I am a revolutionary" to a full crowd (one that you may have already seen in the film's glorious trailer) gave me chills in the best way possible. I had to refrain myself from saying, "give this man an Oscar right now" out loud. Stanfield is also incredible as FBI informant William "Bill" O'Neal, nailing a stoic poker face in Judas facade, whilst also delivering a great amount of nuance in his performance. O'Neal is a relatively quiet figure compared to Hampton, but beneath that, he's riddled with underlying fear and burden, something that Stanfield is able to convey so well, it makes you sympathize with his position. Ultimately, O'Neal is only trying to survive, having to balance carrying out a job for the FBI whilst having to face the inner struggles of betraying a figure like Hampton, whose influence becomes increasingly impactful. Jesse Plemons also deserves a mention, because despite his limited screen-time, he really makes his presence known with his performance as FBI agent and O'Neal's handler, Roy Mitchell. 

Image source: The Wrap

The film really knows how to craft a story in two sides, though how it's executed isn't perfect, it is still well incorporated. By looking into the different perspectives, Judas and the Black Messiah presents an interesting outlook into how one side views the other. The FBI sees Hampton and the Black Panther Party (BPP) as a threat, while Hampton himself and the BPP are outraged at the unfair treatment of minorities. Yet the screenplay shows how seething the FBI was towards Hampton's cause, as well as other causes that fight for the freedom of its community. They see the Panthers in a negative light, inciting nothing but terror, yet that couldn't be farther from the truth. To see someone like William O'Neal be so naively brought as their informant makes his Judas status all the more excruciating, not to mention his conflicted emotions on carrying out such a harrowing job. On Hampton's side, we get to see how he came to power in the Black Panther Party, as well as his budding romance with Deborah Johnson, unraveling the different layers of Hampton's story. So to witness these events unfold from the two sides really brought the film an incredible amount of tension. Knowing history, you're bound to prepare for the inevitable, but it doesn't make it any less compelling. Screenwriters Shaka King and Will Berson knew exactly the kind of story they're dealing with, and it definitely shines through in tremendous fashion.

While you get a general outline of Hampton's role in the community, the formation of the Rainbow Coalition and the Black Panther Party, it's the execution that makes it simply riveting. The film truly knows how to make a statement, and what a statement it is, because it really hits all the right beats in bringing an incredibly compelling story to the screen. The pacing can seem a bit off at times, yet that doesn't drag the film down in its entirety. The film makes almost every ounce of its scenes work, raising the stakes and crafting a sense of urgency that drove the film at its peak. As the stakes are built and the consequences come into play, it draws you right in to the story and keeps you hooked. Once you're in, it's impossible to get out. And for most of the time, it's able to flow so naturally, juggling from one side to the other, crafting the strain and stretching it to its limit. As O'Neil becomes increasingly paranoid, so do we. As he is riddled with guilt and realization of just how deep this rabbit hole goes, what was once a pressure becomes an absolute burden, you can't help but feel sorry for him. Yet, as we fear for O'Neil's life, we also fear for Hampton's and his cause, all while knowing exactly how this turns out. It's like being forcefully dragged into an unavoidable, but ruinous and dreadful fate. You're confined to watching a harsh look at this particularly dark moment in history. 

But while the film thrives in tension and razor-sharp storytelling, it's no short of heart, and Deborah Johnson (played by Dominique Fishback with a stunningly heart-warming performance) provides just that. In a role that could have easily been a one-note love interest, Deborah Johnson is far from that. In fact, part of the film's tenderness and warm spirit belongs to her. Fishback's performance is soulful, she adds a bit more life and passion to the an already tension-filled film, not to mention the fine chemistry between her and Kaluuya that grounds and humanizes him. Being the one to capture Hampton's heart, she becomes his guide, an inner voice of reason that could see right through him. In these moments, we get to take a little bit of a breather, a pause from all that tension, to witness affectionate character moments. That aspect added more depth into not only Hampton as a character, but the film itself. The moments between Johnson and Hampton provide moments of calm, happiness, and it's also key to not only grounding the film, but to hammer the emotionally heavy aspects of the story right home. While the film could have delved in more into this romance, it gives us enough for us to care for them, which in turn, keeps us gritting our teeth when the film begins to ramp up again, and it makes the inevitable incredibly intense, agonizing even.

Image credit: WBUR/ Warner Bros.

If there was any flaws with the film, it's how it executes its storytelling at times, but this is merely a nitpick rather than anything major. As someone who isn't familiar with Fred Hampton, I felt like there is so much to explore when it comes to Hampton's story. Hampton is an incredibly influential figure, whose impact lasted decades, and I wanted to know more about him beyond what the film portrayed. Even though O'Neal provides an intriguing perspective as the main voice of the film, Hampton should have been the real focal point here, the true protagonist of the story. Yes, we do get his side of the story, but sometimes that story aspect is often clouded with a change of perspective, mainly that of the FBI. While the film was able to capture some of the essence of his character and has moments that will certainly leave a significant force, it felt like a missed opportunity to not place him in the forefront of the story. Despite that, while O'Neal can come off as a less interesting character compared to Hampton, O'Neal's battle of morality is certainly one of the more enthralling arcs. The thing is, the film is at its most fascinating when it focuses on Hampton and the Black Panther Party, I just wished that the film took more laser focus on the story. Again, this is just a minor gripe I had with the film, it didn't stop me from appreciating the film nonetheless.

For Shaka King's second debut, it is most definitely a strong one. Judas and the Black Messiah is an engrossing and powerful film that is executed just as much. It knows that it's dealing with a tough subject matter, and it doesn't refrain itself or sugarcoat the situation. It takes a while for the film to turn on high gear, and once it does, it is electrifying. It's easy to compare the film to something like Spike Lee's BlackkKlansman, given the similar subject matter, but Judas manages to be its own thing, and is far from Spike Lee's 2018 virtuoso in terms of execution. Shaka King certainly knows a thing or two in making an impact. Much like Aaron Sorkin's The Trial of the Chicago 7, and even BlackkKlansman for that matter, there is no better time to tell a story like this than now. With the recent cases of police brutality and the rise of the Black Lives Matter movement, Judas and the Black Messiah feels especially reflective of the times, emphasizing its prevalence. As I sat there, watching the film unfold, I was struck by how they pulled this film off. It brings a powerful subject matter to life and emphasizes on its importance, shedding light on the injustice and downright discriminatory actions towards those fighting for their rights. To put it more shortly, it's thought-provoking, engaging, and more relevant than ever.    

Image credit: IMDB

Overall verdict: Judas and the Black Messiah is a strong second debut from director Shaka King, bringing the ever compelling story of  Fred Hampton and the person responsible for his downfall to the screen in an engrossing way. Lakeith Stanfield and Daniel Kaluuya deliver perhaps the best performances of their careers as William O'Neal and Fred Hampton, respectively. Kaluuya especially, is spectacular. While he lacks physical similarities with the real Fred Hampton, he certainly makes up for it in his performance, which is nothing short of electrifying and demands every bit of your attention. Stanfield, on the other hand, brings a more stoic and quiet performance, but it's one that's eventually unraveled with depth and nuance. The sharp and thought-provoking execution is what makes the film the maestro that it is, though it also isn't short of heartfelt and grounded moments, particularly through Dominique Fishback's Deborah Johnson. Its deliberately slow place makes for a brutal third act that took the film to its very peak. However, it isn't without its flaws. Though O'Neal's perspective is interesting enough, I couldn't help but feel like Hampton should have been the main focal point as opposed to O'Neal, but I consider this as more of a minor flaw. Overall, Judas and the Black Messiah is an engrossing outlook on a story that is more significant than ever. It is really one hell of an captivating film, and how it plays its cards is simply masterful.

Stars: 4.6/5 

Judas and the Black Messiah is currently available to watch on HBO Max

By Nadia Ranaputri

Image credit: IMDB

Director: Simon Stone
Cast: Ralph Fiennes, Carey Mulligan, Lily James, Archie Barnes, Johnny Flynn, Ben Chaplin.

When I was around nine or ten years old, archeology was something that I actually wanted to learn. What drove me to be interested in it was because of films like Jurassic Park and Indiana Jones. I wanted to be a part of that, to witness a piece of history right in front of my eyes. I read several books on it, and it raised my fascination even more. However, I didn't end up studying archeology, though I can't help but wish that I did sometimes. Nonetheless, I'm happy with where I am, but my general interest of archeology still stands, mainly because it has a lot to do with history, something that I was also captivated by. Which is why when a film like The Dig comes into the fray, it immediately appealed to me. 

The Dig revolves around the real-life Sutton Hoo excavation that took place in the eve of World War II, and tells the story of Basil Brown (Ralph Fiennes), a self-taught excavator who's brought in by Edith Pretty (Carrey Mulligan) to examine and excavate the grounds of her property, which she speculates to have something hidden in the depths. Soon, Brown and Pretty get more than what they bargained for, as Brown discovers pieces of a ship much older than the Viking age (Anglo-Saxon, to be exact, as Brown assumed in his early findings of the treasure). While this discovery draws many eyes, including more excavators and representatives of the British Museum, it also brings the question of ownership, recognition, and credibility. 

The Dig is quite a stoic one for a film about archeology, but I enjoyed that stoic pace most of the time. There are no curses that come in the way of unearthing a buried treasure, just constant excavations and the excitement of finding little pieces of the past. Despite it being revolved around archeology, it's a self-contained film with other themes built around it. It is a slow burn film, but I certainly don't mind it. That slow burn really sets the stage for the revelation of the buried treasure. With the excavation and reveal of the treasure, the film's first half displays its peak aspects, where it becomes an engaging drama with a touch of historical charm. The fact that this was based on a true story about the Sutton Hoo excavation makes it all the more intriguing. This is the kind of film for those who enjoy period pieces and of course, archeology, because it does play out like your typical period drama. I'm not usually a fan of period piece, unless it involves some sort of major historical event (like World War, or in this film's case, the excavation of an ancient relic), so what this film brought to the table was enough to get my attention and I was invested most of the time. The second half however, is where it starts to show its cracks, and we'll get to that later on. 

Image credit: IMDB

In addition, it introduced its characters well, and it lays the film's main plot fairly well. From their long walks and excavation process, the film leaves handy little snippets of backstory and motivations, particularly that of Basil Brown and Mrs. Pretty. As someone who was once interested in the field of archeology, I wasn't surprised that I was drawn to both Mulligan's Mrs. Pretty and Fiennes' Basil Brown. Being the self-taught excavator that he is, Brown is easy to like, he displays warmth towards both Mrs. Pretty and her son, in scenes that gave the film an elevated charm. His passion for excavation is made clear, "I’ve been on dig since I was old enough to hold a trowel," Brown says. Edith Pretty returns the sentiment, "My interest in archeology began like yours." The chemistry between the two characters are also charming, building on a work partnership that eventually becomes a lasting friendship. Of course, this is especially helped by nuanced and endearing performances by Carey Mulligan and Ralph Fiennes. They click off incredibly well, and it was quite delightful to see the progression of their relationship. If the whole movie revolved only around Mulligan and Fiennes, I would be more than happy.

But I feel like it held itself back, only really discussing the surface of its themes. Once you brush the archeological aspect aside, the film points out themes like the struggle for ownership, or perhaps the bigger picture, what legacy we leave behind once we're gone, and the fear of loneliness. The latter is the one that's discussed the most, but even then, you don't get a lot out of it. Then there's the World War II aspect. This should have been the perfect opportunity to utilize that aspect for meaningful scenes and raise the stakes, but it doesn't do that. Instead, it's merely something shown in the background, the only sense of urgency being a passing RAF aircraft as the excavators make a short comment on the ongoing war. If you're going to bring in something as dire as World War II, or Mrs. Pretty's fear of decay and loneliness, you might as well use it as means of giving the film more depth and stakes. Unfortunately, the film falters in achieving that. It seems that the film is trying to balance all these themes, but never really delving into them. These themes had the potential to really raise the film to be a deep and poignant piece, it certainly leaned towards that at times, but then it suddenly swerves away from that point before it even got to the finish line.

Image credit: IMDB

Moreover, the romance arc between a neglected wife and a photographer in this film felt unnecessary. It was thrown out of nowhere, and left in the film to burn out as soon as it appeared. There was no clear resolution to it, and it felt like the film really stepped aside to give what little time it has to it, when they could have used it to give the story something more than what it end up being. Because once the film turns into a romance, it doesn't feel like it belonged in the film. It's placed awkwardly somewhere between the end of the second act, and towards the third act, and it wasn't even treated like a main plot point, just something lurking in the background while all the other interesting things are happening. It's like if someone took notice of the background extras during a big scene between the main characters, then gave these background characters a close-up on what they're doing as our main characters are off progressing the plot. What these background characters are doing ends up taking the attention away from the main plot, and it's given little to no care to the point where it has no impact to the film. That is the romance arc of The Dig in a nutshell. It's the kind of arc that when taken away, it wouldn't make much of a difference.

Flaws aside, The Dig isn't a terrible film, it's not even close to a bad film, not in the slightest. It just felt disappointing, considering how much potential it had to be a riveting film about archeology and how a piece of the past connects to life in the present. I don't mind it's stoic feel, but I expected much more from a film that presents these themes that had all these things to make it truly soar, especially when it has Ralph Fiennes and Carey Mulligan as the leads. As a matter of fact, the performances are the ones that drive the film together. If it weren't for the standout screen presence of Fiennes and Mulligan, it probably wouldn't have even taken off at all, even if it still ended up a little one-note. Despite being far from the age of the real Edith Pretty at the time (Pretty was 50 years old during the excavation), Mulligan brought life into what could have been a detached and uninteresting character, yet she made it work. And Fiennes brings a hearty performance as the humbled Basil Brown, and you would probably get the most out of his character. So how would I wrap my thoughts on it with nice little bow? A film with a lot potential, but also lacks the enthusiasm to bring its potentials to fruition. The word "potential" seems fairly overused, especially since I too use it a lot here, but that's one of the few ways I'd describe the film, and that's all there is to it.  

Image credit: IMDB

Overall verdict: The Dig isn't the most outstanding film, but it's a fairly harmless film that you could watch on a cold day with a steaming cup of tea and a cozy sweater. It very much plays out like a standard period piece, so it won't appeal to everyone. However, the archeology aspect was what drew me to this film in the first place. It had an intriguing setup that established the film in an interesting way. The film really soared in the first act, crafting the goal of the story and setting up a soulful character dynamic between Fiennes' Basil Brown and Mulligan's Edith Pretty. Furthermore, the fact that it's accompanied in a World War II setting should have made all the more compelling, but it never gets to that point, and that's where the film starts to lose its footing. Sometime during the second act, the archeological element of the story are presented with other aspects like death, decay, loneliness; all terrific themes that would have made the film to be much more than it is, yet the film barely scratches the surface on those themes, instead sidelining them in favor of a romantic arc that had no point being there and wasn't even fully developed. But for what it's worth, it's the screen presence of Fiennes and Mulligan that prevented it from falling flat on its face, even if it still ends up inches away from doing so. Overall, The Dig is not a terrible film by any means, it just strayed too far from the very potentials that could have made it so much more than what it turned out to be. 

Stars: 3/5

The Dig is available to watch on Netflix
 

By Nadia Ranaputri

Image source: IMDB

Director: Sam Levinson
Cast: Zendaya, John David Washington

How would I describe this film, exactly? Perhaps a love story that doesn't play it like a love story. Or, a lavish looking film filled with anger, grief, and catastrophic romance; those are probably some of the best suited words to describe Sam Levinson's latest film Malcolm & Marie. After taking on the hit HBO show Euphoria, Levinson teams up once again with Zendaya on a harrowing look into two lovers who are way past the honeymoon phase, and the twists, turns, and revelations that unravel in a single night. 

Malcolm & Marie tells the story of a couple coming home from the premiere of Malcolm's new film. Having just shown his work, Malcolm (John David Washington) is excited and elated about his film. His girlfriend Marie (Zendaya), on the other hand, seems content to listen to his many ramblings (a scene that becomes the centerpiece of a visually gorgeous one shot scene that goes on for almost a good 10 minutes) about film critics, the intention behind his new film, among other things. What ensues after that is a battle of wits, a true testament of their relationship, leaving them to question one another and embark on hours of pent-up resentment. 

Zendaya is especially powerful in this film. Her performance hit all the right notes and left a lasting dent, particularly during an hard-hitting monologue at the climax of the film. Beyond what is unfortunately either an exaggerated or dull script half the time, Zendaya did the best she could, and she absolutely sells the role. From her stoic stance, calmly lighting a cigarrette as Malcolm goes on a rant, to delivering all those years of pent up anger towards her lover, Zendaya was the real star of the film. John David Washington isn't far behind in performance, having already seen the more collected type of characters from BlackkKlansman and Tenet, it's fun to see him branch out in a role like Malcolm. Washington oozes a type of elated strut, going on a roll with a one-shot monologue regarding the film critics that saw his film. It takes a while for Malcolm to really burst out, but when he does, Washington's performance is all the more mesmerizing. Zendaya and Washington's chaotic chemistry is all over the place, in a good way. While I can admit that there are lines that aren't that well delivered, they still brought a lot to the table, and if there's one reason to watch this film, it's for their performance.

Image credit: IndieWire

Another thing that Malcolm & Marie succeeds at is the visuals. Having it in black and white makes it more cinematic and eye-catching. There are plenty of one-shot sequences that add to the authenticity of the scene, making it visually immersive. The steady cam long take scenes give the film a clean and appealing look to it, makes it feel like you're in the house with them. This is going to sound absolutely ridiculous, but I couldn't help but think of the game Facade while watching it. Essentially, you're the bystander stuck in between two people arguing and wondering when you're ever going to get out of it. The difference is that the game allows you to interact with them, but of course, Malcolm & Marie doesn't do that, and you're only resolved to watching them. I told you it would sound crazy, didn't I? That aside, the film is incredibly sleek in its presentation. Director Sam Levinson and cinematographer Marcell Rév really knew how to craft a fine canvas to display their piece. It's quite an impressive result visually for a film shot in the span of only a few weeks. 

So let's address the elephant in the room. Looking past its visuals, it's a film that has a lot to say, and that's where it starts to have its struggles. The conversations it has didn't really have a main point, or even a starting point, everything it wants to convey gets lost in the process. There isn't much of a plot here, which isn't a bad thing in and of itself, plenty of films that follow this approach have proven to still make a statement, even with little to no plot. Steve McQueen's Lovers Rock for instance, managed to create an experience rather than having a central plot. Another example is Ma Rainey's Black Bottom, a film that takes place in the span of a day, and yet, you know the general outline of these characters and can still get what it's trying to say, and it builds up to everything the characters say and do. In Malcolm & Marie, you're bombarded with a lot of things being thrown at the wall and having only a few of them stick. It's an amalgamation of all these contrasting ideals that came out of nowhere, and eventually lead nowhere. There is a debate around whether or not the criticism towards this film is related to Levinson's very direct messages, especially when it comes to critics and film criticism itself, but that isn't an issue for me. In fact, a lot of what Levinson puts in his screenplay is already interesting enough, but the execution of it didn't deliver quite as well as it should have.

That being said, it doesn't truly falter as a whole, I still think it presents an interesting character study for the two leads. It has its complexities, and the film is able to explore some intriguing aspects from the characters. Marie is perhaps the most interesting of the two, having felt belittled by Malcolm (one scene being when he aggressively eats mac and cheese, that's quite a sight to see. "If you're going to treat me like an insane person and call me crazy, the least you could do is do it without eating mac and cheese," as Marie puts it). The film puts the two characters on the spot, ready to sharpen their weapon and battle it out. It attempts to show a grey side between the two of them, both having made good points, but neither being completely innocent in their raging lovers quarrel. While Malcolm seems to be the one at fault here, Marie isn't any better. How it plays out is both a hit and a miss, as Levinson's direction and script goes back and forth in characterization. At times, the dialogue and performances are masterful to the point where it feels genuine, and they feel like real, complex human beings. Then the next, they can come off as caricatures reading words off a script instead of expressing them in a natural way, particularly when it comes to Malcolm. 

Image credit: IMDB

Though it stumbles in the execution, the topics it discusses are no less captivating. For what it's worth, the message and theme that it tries to convey could be something worth discussing. You can at least still get a sense of idea of where it wants to go. In this case, it's the two main leads addressing their gripes with one another. While the dialogue can certainly come off a little too direct at some point, there are scenes where the dialogue does hit in the most graceful way. Most can take Marie's side of the argument, since she's the one that brings most of the film's hard-hitting moments. You can practically see why she is the way she is, and really know her side of the picture. Some of her frustrations towards Malcolm are justifiable, and she rightfully calls him out on his questionable behavior, like using her unnerving past as some form of exploitation, whether it is as a basis for his film, or to further strengthen his side of the argument, even going to the point of gaslighting her. It's an incredibly toxic cycle, but I felt like it was intentional. It is what it is, a destructive relationship on the verge of ending in flames, it doesn't want to glamorize that, rather it touches upon that matter head-on. Though that isn't directly stated, you can get enough evidence of it just from the dialogue alone. 

In some ways, if you're already familiar with Levinson's work, particularly Euphoria, you can get a sense of Levinson's style and how he chooses to portray certain topics. But for what it is, the overall message and ambition behind Malcolm & Marie does elevate the film in a way. It's a film that had so much potential, it had all the right elements to make a creative and meaningful film with plenty of interesting things to say, it just didn't reach that point of being fully formed or well conveyed. It's understandable that the film has its limits, especially given that it takes place in the span of a single night, not to mention that filming took place during the pandemic. There are elements that worked, and there are elements that didn't. Truth be told, in terms of realism and grit, the film nails that aspect, particularly in terms of performance, even though the dialogue says otherwise. Film-wise, it fails to weave its ideas together cohesively, but to look at it as an experience, ala Lovers Rock, it's an exhausting yet still gripping piece. The film is absolutely raw, with both characters placed on the pedestal to be unraveled, leaving no stone un-turned. As a whole, Malcolm & Marie may have its faults, but it also has its moments that give it a silver lining. 

Image source: IMDB

Stars: 3/5

Malcolm & Marie is available to watch on Netflix