By Nadia Ranaputri

Image credit: IMDB

Director: Thomas Vinterberg
Cast: Mads Mikkelsen, Thomas Bo Larsen, Lars Ranthe, Magnus Millang, Maria Bonnevie.

Initially, I had no intention of seeing Another Round. The premise didn't convince me at first, and it seemed slightly ridiculous, given that it's about four guys drinking. I certainly can't relate to the subject matter, but given that Thomas Vinterberg is a well-known and respected director, I suspected that the film has more to it than what it presents itself to be. And of course, that was exactly the case. In addition to that, having Mads Mikkelsen in the lead role was already an intriguing aspect on its own. The more I heard about this film, the more interested I became. So, I took the plunge and watched it myself, and was pleasantly surprised with what this film brought to the table.

Another Round tells the story of four professors who have been friends for a long time. There's Martin (Mads Mikkelsen), a history professor, Tommy (Thomas Bo Larsen), a gym teacher and occasional soccer coach, Martin (Magnus Millang), a psychology teacher, and Peter (Lars Ranthe), who leads a choir group. Unsatisfied with their attempts to motivate their fellow students, the group decides to test a theory stating that having a blood alcohol level of 0.05% could lead to an increase in social performance. Essentially, the experiment consists of day drinking, mainly in small and medium doses before heading into work. When the group sees that their experiment has vastly improved their social and work lives, they decide to take it one step further, which leads to the eventual downsides.

Mads Mikkelsen practically carries the whole film, and he does this so effortlessly. He's able to bring Vinterberg's script to life in such a visceral way, that you can't help but be drawn into his performance for every second that he's on screen. His character Martin starts off as a professor who seems to have lost his way of life. He doesn't connect with his students, nor does he have that same familial relationship with his sons and wife as he did then. Once the alcohol theory is brought into the picture, there's a flicker of curiosity from Martin, that maybe, just maybe, what is once considered as theory could be put to the test, and perhaps improve his life in the process. That's when we get to see the more loose side of Martin, and Mikkelsen plays this very well, balancing between different sides of Martin's character in rmagnetic ways. His fellow co-stars are just as impressive. Thomas Bo Larsen, Magnus Millang, and Lars Ranthe round up the group of professors and each performance adds an emotionally riveting touch to the film, as well as a spectacular chemistry that instantly convinces you that they are indeed, lifelong friends. 

Image credit: IMDB

Another Round is more than just a film about drinking culture. Sure, the premise is based around testing a theory about alcohol, but the core of it lies within the friendship of these four professors stuck in a mid-life crisis. It's an introspective look on their lives through the highs and lows. It's a character study, if you will, a look into a  friendship and how an experiment could affect their lives. And Vinterberg was able to create a slow but convincing character growth. These characters could have come off as one-note, but fortunately, they don't. Mikkelsen's Martin for example, is concerned with his seemingly dull demeanor, and that his current state affects his relationship with his family and his students. He feels that his marriage is failing, and doesn't know how to fix it, so he confides in his friends. And throughout the film, we see how this seemingly simple experiment takes affects his life, for better or worse. It indulges itself in small moments that make an impact. A simple conversation between friends can lead to many revelations and moments where they could truly confide in each other, or a single night could change a stoic person into the livened person that most of the people in his life wouldn't get to see. 

I think the appropriate words for it are honest, genuine, and simple. The film could have easily gone on a very dark route, and while there are dark moments, it doesn't fully veer to that aspect. A film about drinking culture and alcoholism could have ended up as a moralizing tale on the dangers of alcohol, and it is in some way, but it's handled in such a candid way that felt like an honest portrayal rather than something grim or pretentious. It shows many different sides of drinking without settling on one particular side. Yes, at first it may seem ludicrous to teach a class while being a little intoxicated, the film does show how it improved the social performances of the four professors, but it also shows the consequences of going overboard. What was once just a theory was proven right when they become more engaged and active with their students, Martin sets a witty little quiz regarding world leaders and gains the respect of his students, while Peter was able to get his choir class to sing I Danmark er jeg født heavenly. When the professors decide to take their blood alcohol level a little higher, it's quite predictable on where it goes from there, yet that predictability is more to the anticipation and dread that something is going to go terribly wrong, as what started as a social experimentation turned to be something much more tragic.

But even then, it feels realistically wholesome, and surprisingly humorous. It has the right amount of realism and liveliness, with some comedic moments too. It's not a grandeur piece, just a tame film about four lifelong friends. Vinterberg seems more interested in showing the more subtly poignant moments rather than large scale dramatic sequences, not to mention witty and vivacious. There are a lot of moments where the main characters have their fun, and it's just as equally boisterous watching it as it is for the characters on screen. In doing this more grounded approach, Another Round becomes a film that really thrives on its simplicity, but unravels an invigorating kind of depth, the kind where something seems incredibly simple on the surface, then it reveals its hidden layers one by one. It's a humanizing film where the characters are flawed and somewhat a little complex, but still relatable and charming. Some may find it too slow, and might not see the point in seeing four professors get drunk, but I find it genuine and quite charismatic. Vinterberg is one director whose works I would love to discover more. Just recently, I watched the much hyped drama The Hunt, and I have yet to see more of his films. For now, Another Round is another fine entry from Vinterberg. Once you overlook its rather simple premise, you might just find yourself enjoying a meaningful, wholesome, and vibrant little film that's brilliantly carried by its direction and performances. 

Image credit: IMDB

Overall verdict: Looking beyond its premise, Another Round is an enjoyable film with more to it than you think. Mikkelsen is the obvious star here, playing up different element's of Martin's character that are unraveled as the experiment goes on. Thomas Bo Larsen, Magnus Millang, and Lars Ranthe complete the impressive cast that bring equally strong performances. Another Round discusses both sides of alcoholism and drinking culture rather than siding on one aspect of the topic. It doesn't come to the conclusion that drinking is neither good or bad, it really depends on the person. Yet, it is more than a film about drinking. I think the core of it is the friendship between these four professors and how a seemingly harmless experiment impacts their lives and their relationships with their families. There are times where the film is lively, it embraces that feeling of levity and the quieter moments that ground the film. But even between moments of humor, it also showcases the flaws of the characters and as a result, humanizes them. Thomas Vinterberg and Tobias Lindholm's script and direction creates this authentic and honest portrayal of life, it very much relishes on simplicity without ever feeling dull or pretentious. This is actually my first venture into Vinterberg's work, following the much praised The Hunt afterwards, but it definitely won't be the last.

Stars: 4.5/5

Another Round is available to watch on Amazon Prime

By Nadia Ranaputri 

Image credit: IMDB

Director: Emerald Fennel
Cast: Carey Mulligan, Bo Burnham, Alfred Molina, Alison Brie, Jennifer Coolidge, Clancy Brown, Laverne Cox, Chris Lowell.

When I first saw the trailer for Promising Young Woman, I knew that I had to see it. There's just something about a trailer that can make instantly catch your attention, and whoever edited the trailer for Emerald Fennel's film deserves a raise. The first thing you see when the film opens is our very own titular character played by Carey Mulligan in a night club, drunk to the point of almost passing out. Her drunken state is noticed by a man who offers to take her home. With the belief that she is too drunk to notice her surroundings, the man decides to take her to his apartment instead. This proves to be the biggest mistake of his life, because it turns out, she isn't actually drunk, but stone cold sober this entire time.

Promising Young Woman revolves around Cassandra Thomas (Carey Mulligan), a med-school dropout working in a small coffee shop and still lives with her parents, despite being in her late twenties. But there's more to Cassandra than meets the eye. After bearing witness to a traumatizing event that leads to her eventual dropout, Cassandra spends nights pretending to be drunk in order to lure men into taking her home. She plays off with this facade until the so-called "nice guys" begin to take advantage of her. This of course, ends with Cassandra confronting each of the men that try to make a non-consensual move on her. Her reason for doing so is to teach these men a lesson about preying on women who aren't conscious enough to give consent.

Carey Mulligan is alluring as the film's lead, Cassandra Thomas. Mulligan's performance walks the line between innocent, cunning, and at times, effectively vulnerable. Mulligan makes the role her own, and it's hard to see anyone else in playing Cassandra. The character of Cassandra herself has many layers that the film slowly unravels, and each time, Mulligan's performance becomes even more nuanced than the last. There's times where she menacingly confronts those in the wrong, then in the next scene, she's dancing and singing along to Paris Hilton's Stars Are Blind in the middle of a pharmacy. It's not easy to play a character that displays many different sides, but Mulligan makes it work effortlessly. Bo Burnham too was surprisingly good in his role as Ryan, which seems a little bizarre considering that I first knew him from Vine and his standup specials on Netflix, but ever since I saw his directorial debut Eighth Grade, my appreciation for him just sky-rocketed to new heights. Here, Burnham adds that much needed charm to the film and helps ground the film a little. There are also a couple of very familiar faces in the film such as Alfred Molina, Connie Britton, Jennifer Coolidge, Alison Brie, and Laverne Cox; who all give equally solid performances, particularly Molina. 

Image credit: Luna Palace Cinemas

Promising Young Woman is a striking film, both from the cinematography to the story itself. It's so full of style, you really can't help but be drawn into its world. It's unashamedly colorful and vibrant, and while it contrasts the theme of the film, it works. The color grading is in line with something like The Florida Project, the kind of bright yet neutral colors, like colorful candy canes that just enhances the film. The cinematography too is stunning. For a revenge thriller, it sure has a lot of sleek visuals. That's what drew me in to the film in the first place. When a film has striking visuals, it elevates the film and turn it into an experience. Plenty of films have done that, and Promising Young Woman happens to be the latest. It doesn't do anything particularly innovating when it comes to camera work, but that's not to say that it lacks any good cinematography, because it still looks striking and knows how to have fun with color. Even the songs featured in the film are used in ways that gives it an entirely new spin on the songs, almost mirthless, the most notable being a rapid violin cover of Britney Spears' Toxic.

The film reminds me a lot of a recent HBO show I saw in 2020 called I May Destroy You, a gut-wrenching dark comedy about sexual assault. But while I May Destroy You tells the story from the perspective of the victim, Promising Young Woman tells its story from the lens of the person close to the victim, yet it's still just as compelling and dark. The film's first act consists of these typically "nice guys" who lure Cassie in to their homes with their charm that eventually wears off as the night goes on, prompting Cassie to drop her facade and take matters into her own hands. It discusses the "he said she said" situation, the avid excuses like "we were drunk",  or "we were young! I've changed now," to which Cassandra mockingly answers, "if I hear that excuse one more time." At the same time, the film doesn't make a show of deliberately pointing their finger to just one specific culprit, but to also shed light on the people that permitted such behaviors. It also discusses those who went silent on such cases, one character going to the point of bullying the victim into dropping the allegations. One of Cassandra's goals is to make sure that her former associates acknowledge that they each had a role in allowing something so vile to happen and have it dismissed without question. It's clear and direct in what it wants to say, but it never feels too on the nose or shoved down your throat. 

Image credit: IMDB

Between all of that, the film manages to keep itself balanced despite the change of tones. Sometimes it's a revenge thriller, then it's a dark comedy, and there's some drama in the next, but none of these feel out of place. Kind of like how Parasite is able to change tones from a dark comedy in the first half, to a thriller in the second half in an instant that subverts the audiences' expectation in a spectacular way. Promising Young Woman does the same, but instead of having the first half set in one genre and change to the next, it continuously changes tones back and forth as the film goes on. But it's so swift in changing tones that you don't realize that you're probably watching three different films, they just mesh together so well into one cohesive film. There's something compelling in a film that knows how to turn what could have been a mess of clashing genres, into a coherent and compelling story. Yet, it never falters nor does it take away from the main subject matter. It is still first and foremost a revenge story centered around the trauma and stigmas of sexual assault. Better yet, it's handled in a thought-provoking and gripping way. And in terms of story, it's not a film that gives information on the get go. It rarely ever focuses on flashbacks and sets its sights on what happens in the present. Cassie's backstory and reasoning are given in snippets that are slowly unraveled in each act. 

I did have one major gripe with this film, which was the last 20 minutes. I've heard from some who feel divisive over the final act, and sadly, I am one of them. Though, hearing Emerald Fennel's reason, I could somewhat understand why she chose to end it that way. I'm obviously not going to give away what happened, but I suspect that a lot of people are going to be divided over it. Other than that, for Fennel's feature directorial debut, Promising Young Woman is a stunner. It's a film that is more than just a reflection of the #MeToo movement. Given that she's written episodes for Killing Eve, it's no wonder that she is able to give so much flair and life to such an engrossing revenge story. Fennel is able to captivate and subvert audiences with her virtuoso piece. It's fascinating when a director's first directorial debut brings new life into the industry. Directors like Ari Aster, Robert Eggers, even Bo Burnham with Eighth Grade; they have a vision for the film they want to make, and they're able to execute their vision in a fine way. With Promising Young Woman, it's safe to say that Emerald Fennel joins the ranks.

Image credit: Variety

Overall verdict: Promising Young Woman is a stellar directorial debut from Emerald Fennel. Carey Mulligan brings another outstanding performance as the film's lead Cassandra, showcasing the many layers of Cassandra's character in impressive fashion, from menacing, lively, and even a little comedic. Bo Burnham was also a surprise favorite, giving a charming performance that grounds the film a little. The first thing you'd probably notice going into Promising Young Woman is the visuals. The film has its fun with striking cinematography and vibrant candy colors. But the themes that it discusses contrasts those visuals. It is a film that touches on serious subject matters regarding sexual assault, and it conveys its message in a very compelling way. It's direct in saying what it wants to say without ever feeling like it's being shoved down your throat. Fennel's script imbues these themes and messages in a thought-provoking and engrossing way, whilst also able to juggle various genres in its run-time. It first starts off as a revenge thriller, then it switches into a dark comedy, and even a drama at times; yet it's so swift in balancing these genres that you don't feel like you're watching several different movies at once. Moreover, Fennel is able to create a story that borders the line between stylistically entertaining and compelling, whilst giving it a reasonable amount of depth, making Promising Young Woman as more than just a typical revenge story. 

Stars: 4.4/5

By Nadia Ranaputri

Image credit: FilmAffinity

Director: Kelly Reichardt
Cast: John Magaro, Orion Lee, Toby Jones, Scott Shepherd, Ewen Bremner, Lily Gladstone.

When First Cow opens, we're taken to a nice, quiet forest. A woman walks along the forest with her dog. Then her dog comes across something that leads him to start digging. What could it be? Has he found a treasure? Leftover food, perhaps? The woman stops him before he could continue his dig, only to continue digging the ground herself. So what does she find? It's a remnant of the past, and one that leads us to the bygone era of the Oregon County in the 1800s. 

First Cow centers around fellow traveler and chef Otis "Cookie" Figowitz (John Magaro), who's travelling with some rowdy hunters. Along the way, he meets Lu (Orion Lee), a Chinese immigrant who is on the run from the Russians after killing one of their own. Cookie eventually allows him to come along with him, sparking an eventual friendship. Realizing their shared dreams of seeking opportunities, Cookie and Lu set their sights on a lone cow sent to the Oregon Territory for the wealthy Chief Factor (Toby Jones), devising a plan to use the cow's milk to make and sell batches of oily cakes as a means to make a living.

First Cow won't be for everyone. It's incredibly slow, and it very much remains that way for most of the film's runtime. Think Blade Runner 2049 levels of slow. But this is one of those films where it justifies its slow pacing. It allows you so much time to familiarize yourself with this era and its characters. It boasts some similar styles as The Revenant, but First Cow is much more contained, whereas a film like The Revenant feels much bigger in scale. The brutal Oregon Territory in the 1800s is portrayed in a simplistically gritty way. It lets you explore this deranged world where many had to fight for their own survival, whether it is against the harsh weather or the threat of other men. Many of the scenes linger towards the ones trying to make a living. There are even aspects of colonialism and socialism, and capitalism; how money is one of the vital commodities of this era, but it's discussed in a very subtle way, through both the writing and the visual storytelling. Yet, despite its reliance on visual storytelling, much of the film's dialogue is sparse. It tells what it needs to tell. In other words, it gets straight to the point. A character can say a certain revelation about who they are, but rarely ever explains it any further.

Image credit: WBUR/ A24

As mentioned earlier, one of the central heroes of the film is the emphasis on visual storytelling. I love films that are able to tell the story in a visual way, and lets the audience figure the answers on their own. The majority of First Cow is relied on visuals, and the way it executes this is near perfect. A lot of the scenes linger on particular images, person, or object, that later become significant. Take Bong Joon-Ho's Parasite in comparison. In the beginning, the scholar's rock that Ki-woo is given with by his friend has heavy implications towards symbolism and as an object that Ki-woo is attached to. Yet, these implications are drawn from both visual and dialogue. Ki-woo and his family sees it as a sign of wealth because his friend says it is, and Ki-woo keeps the rock close to him in the film's third act, even to the point of it being used against him as a weapon at the very end. First Cow does the complete opposite of this. Instead of relying on both the visuals and the dialogue, the film mostly chooses to focus on the former. At first, you might start to wonder why such a particular person or object is being shown, because there isn't much explanation or context to it. But the more the film goes on, the more you understand the intention behind every visual emphasis. There are many visual hints that feel like trinkets or pieces of a puzzle being left behind, all we have to do is pick up on them and piece it together ourselves.

However, First Cow doesn't always lean towards ambiguity, regardless of its visual storytelling, more towards subtlety. It may even seem as if the film ended on an ambiguous note, but if you've picked up on one particular scene, you might have already guessed that there's more to it, and it isn't all that ambiguous. Yet at the same time, the presentation itself has an intimate feel to it, a sort of tenderness that contrasts the themes discussed in the film. You'll notice that despite the grim atmosphere and later tension, much of the violence is rarely ever shown on screen. Sure, there are fights here and there, but they're always in the background rather than being placed in the center of the film. Perhaps this decision was to maintain the simplicity and intimate element to it. This wasn't intended to be a gritty Western in the first place, and it stays that way throughout the film. At the center of the deeper themes, it's about the development of an unlikely friendship of two men trying to make their way in the world. The first half of the film is dedicated to their first encounter and eventually, the evolving bond between Cookie and Lu, which are elevated by the nuanced performances from John Magaro and Orion Lee. It gives this a slightly lively atmosphere that though heavily restrained, is fairly visible. By giving time to the smaller scenes, the film allows the audience to get a sense of who the characters are in general, as well as their relationship and what roles they play in society. You buy into their struggles and why they would end up doing things they normally wouldn't to make a living. In the film's case, it's stealing milk from a wealthy man's cow to make Cookie's oily cakes.

First Cow is an interesting film to come back to, but it's also a film where if you put your full attention to it, you might have already pieced together a lot of the foreshadowing and visual hints in the first viewing. First Cow could be a very divisive film. There will be ones that love the film for its simple presentation and a slow film that leads to a rewarding third act. But there will also be the side that will ultimately dislike how it moves at a snail's pace. If you're familiar with most of the films from A24, you won't be surprised at how the film presents itself. It's something among the lines of films like A Ghost Story, a fantastic A24 entry, but the film itself is nothing like a horror film, as the title may suggest. It's instead a slow exploration of a deceased man watching the people in his life as a ghost. First Cow, on the other hand, is not the typical action-filled Western that you would expect, but rather a contained look at the friendship of two men and a scheme that could put them in danger. Even so, violence was never used as a way to create tension, the atmosphere and the story itself does. It's used in a very subtle way and even leaves some of the interpretation to the audience. Though, to be fair, it's not the most exciting film from A24, but it's still a welcome addition and a very fine film overall. 

Image credit: Film at Lincoln Center

Overall verdict: First Cow is quite an odd film, but it's nothing new if you're familiar with A24 films. It's a slow moving film that really takes its time in fleshing out its world and its two main characters. This films explores many themes, yet discusses them in a subtle way, mainly through visual storytelling. And that's the thing, visuals are the film's focal point of conveying its themes and story. It lingers a lot on visual hints and cues that might seem insignificant at first, but would later play a vital role in the film. It's also very subtle and low-key, even when it comes to the tension, but it's still there. Such example could be found in a scene where the Chief Factor, the owner of the only cow in the land, tries one of Cookie's oily cakes. It's a slow methodical scene, and you start to wonder if the Chief Factor would immediately realize that milk must be the hero ingredient based on the taste. Some of the key elements of the story even felt as if they were left to the audiences' interpretation. It doesn't always give information directly, it's being left somewhere for us to find ourselves. But the core of the story is really a growing friendship between two men making a living in a grim world, which explains the more grounded and intimate feel of the film. First Cow isn't going to be for everyone, but for the ones patient enough to tread through its deliberately slow pacing, you might just find yourself rewarded on how it all comes together.

Stars: 4.2/5

First Cow is available to watch in select streaming services

By Nadia Ranaputri

Image credit: IMDB

Director: Darius Marder
Cast: Riz Ahmed, Olivia Cooke, Paul Raci, Lauren Ridloff, Matthieu Amalric.

Independent films are really getting the spotlight this time. With many blockbusters and big budget films being pushed back, many indie films have soared their way to the top, as streaming services like Amazon Prime, Netflix, Hulu, and HBO Max become the most practical way to watch new releases. Films on Amazon Prime specifically always seem overlooked. Despite some being critically acclaimed, I rarely ever hear a lot of people talk about them, which is a shame, because they've got plenty of standouts on their hands, like The Assistant that came out in 2020, or even 2019's The Report starring Adam Driver. But it looks like one film has gotten a reasonable amount of attention. Enter Sound of Metal.

Sound of Metal begins with Ruben (Riz Ahmed), a drummer of Blackgammon, a metal band duo that consists of him and his girlfriend Lou (Olivia Cooke), the singer and guitarist of the band. The two travel around the country in an RV in between gigs, basically living the best live possible. This all comes crashing down when Ruben is faced with sudden hearing loss, which he first dismisses, but ultimately realizes that much of his hearing was gone when he wakes up to nothing but complete silence. What was once a significant part of his career no longer becomes a part of his life, forcing him to face an inescapable situation.

If The Night of and Nightcrawler has taught us anything, it's that Riz Ahmed is an incredibly talented actor that should be appreciated more. He's capable of disappearing into any type of role, and this is perhaps his best performance yet. Ahmed perfectly captures Ruben's denial, rage, and despair, without making it feel like an overreaction. He is able to really captivate the screen, and you're absolutely glued to his character.  As so much of the film relies on communicating through visuals, especially the second act, Ahmed is able to convey Ruben's conflicted feelings incredibly well. Watching him be constantly in denial about his condition is heartbreaking, you can see his genuine frustration and eventual acceptance, but it never seems drastic or forced, rather like a natural progression and character growth that feels justified. Olivia Cooke also shines as Ruben's girlfriend, becoming the heart that grounds Ruben. When Ruben's condition makes him vulnerable, she is the one that steps in, she tries to get him to assess the situation and find what's best for him. Though her screen-time isn't fairly long, the script and Cooke's performance allow the character to make a vital impact to both Ruben and the progression of the story.  

Image credit: IMDB

 
One major aspect that must be appreciated is the sound design. It is of course, a major element of the story, and the film utilizes it so well. In the beginning of the film, most of the mundane sounds like a blender, the closing of a cupboard, and the music from the stereo are emphasized. There's a reason to this, because once those sounds are immediately replaced by a muffled buzz, it's sudden but very effective, it really feels like you're experiencing the loss of sound just as Ruben does. It's fascinating, yet horrifying in terms of having something so pivotal in your daily life taken away in an instant. Most of the sound design in the film can often switch according to what Ruben hears. An example of this is when Ruben takes a hearing test. As the doctor speaks through the microphone, all we hear are muffled sounds that don't even sound like words. Once the camera pans to a wide shot, we get to hear those sounds normally, and see what the doctor is actually saying. It's scenes like this that makes you realize that being able to hear is something we can take for granted. The film often does this technique, but it never feels repetitive, every change of sound is an experience of its own. Sound is used as an immersive tool and lets the audience be a part of the journey. Ultimately, the sound design becomes a part of the storytelling

Sound of Metal explores the acceptance of the inevitable. If one major thing gets in the way of your passion, what are you going to do? This is what makes Sound of Metal so interesting. It isn't just about metal music itself, but more of a deep journey into something unexpected. It's a film about recovery, rehabilitation, and acceptance. Throughout the film, Ruben is forced to accept his situation, and it isn't easy. To have something you value taken away from you in an instant makes you realize that you might have taken it for granted. It's really about self-exploration in the context of trying to find a different path when the one you've traveled on all this time has been completely cut off. Ruben goes through certain stages of denial before slowly coming in to terms with his condition. And it doesn't glorify nor treat deafness as something negative. The deafness aspect of the story is not only used as an obstacle for the character to overcome, but it's also used as a means of moving forward, something that Ruben has to go alongside with. The film's inclusive casting of supporting characters played by deaf actors add to the film's authenticity, with most of these characters even having vital contributions to Ruben's journey. They become a significant part of Ruben's life, and they add to the film's heart. 

There's some sort of simplicity in Sound of Metal. Be it from its presentation or its storytelling, it has a fairly simple plot. It relishes on silence and simplicity. It doesn't try to over-complicate or over-generalize the situation, but it's enough to to really tie the audience over and empathize with what the characters are going through. It even manages to create a universal story that many can appeal to. It isn't just about deafness, it's about learning to accept the inevitability and one's journey to recovery. On paper, Sound of Metal might not look like the most appealing film, and it might have fallen into the trap of either greatly exaggerating or even dismissing the subject matter and situation of the film, but it never did any of that. Instead, it executed its subject matter in a subtle yet impactful way, and that's what made it a riveting film. Much of Sound of Metal is pretty bleak, perhaps a little depressing, but it doesn't stop it from being as compelling as it turns out to be. It's a film that relies on the impeccable performances and some visual storytelling, particularly in the second act, which consists mainly of sign language and elevated sound design. I certainly did not expect to be so enticed, the film just knows how to execute its story so well, which is why Sound of Metal is one of the standout films of 2020, and is definitely worth a watch.

Image credit: IMDB

Overall verdict: Sound of Metal is no doubt one of the standout films of 2020. It's a film that's driven by the strong performances and visual execution. Riz Ahmed is a revelation in this role, able to convey Ruben's conflicting emotions and slow process to acceptance without making it feel like an over exaggeration. Olivia Cooke is just as impressive, and despite her limited screen-time, she becomes the very heart that grounds Ruben at his most vulnerable. The sound design is also worth mentioning, as it becomes a significant part of the storytelling. Once Ruben loses his hearing, we get to experience it along with him. It makes the film much more visceral and entertaining. Sound of Metal may not sound like the most appealing film at the surface, but its execution is what makes it worth watching. It never treats deafness as a negative, rather as a means for moving forward. And even then, the film isn't solely about deafness itself, there's so much more to that. It's a film about recovery, about learning to accept everything that has happened, regardless of how one reacts to it. Yet the presentation is also fairly simple without being underwhelming. It doesn't make the subject matter complex, nor does it underestimate the situation. In the end, Sound of Metal is able to execute such a simple story and turn it into something impactful and poignant.

Stars: 4.4/5

Sound of Metal is available to watch on Amazon Prime

By Nadia Ranaputri

Image credit: CLTure

Director: Pete Docter
Cast: Jamie Foxx, Tina Fey, Rachel House, Alice Braga, Graham Norton, Angela Bassett, Richard Ayeoade.

Pixar films rarely ever miss, they're filled with not only fun, but they're also imbued with love and care. They come with the most unique ideas, and execute them in the best way. Inside Out was about the emotions in our minds, Up was about an elderly who traveled the world with a bunch of balloons tied to his house, Coco ventured into the world of the afterlife in the Day of the Dead, and this year's Onward took place in a modernized society filled with fantasy creatures, where the use of magic was replaced with technology. All have very unique stories, with talented people working behind them. This time, Pixar's latest film Soul is an exploration into life itself, as well as the world in between life and death, sprinkled with some hearty jazz.

Soul starts off with Joe Gardner (Jamie Foxx), a music teacher and piano player that teaches jazz at a local school. In his spare time, Joe relentlessly chases after potential gigs that will give him his big break. He finally gets to do exactly that when he is offered the chance to perform in a band with Dorothea Williams (Angela Bassett), an acclaimed musician. However, Joe stumbles upon an accident that leads him to the mysterious world of the Great Beyond. Unwilling to give up his life, Joe becomes desperate to find any opportunity to get a second chance at life, and eventually finds himself mentoring a fellow unborn soul named 22 (Tina Fey).

It may feel as if Soul could be similar to its fellow Pixar relative, Inside Out, but rest assured, Soul is its very own thing. The title itself perfectly represents the film, full of life, full of heart, and full of soul. But it's also a film that dabbles in the notion of death as well. When it comes to the subject matter of life, it contemplates on the very concept of it, and how important it is to live your life to the fullest. It encourages an introspective on our purpose in the world. What is our true purpose? We may not even know it yet. It's evident in scenes where Joe Gardner constantly convinces himself and others that his purpose in life is to play jazz and become the great artist that he has always wanted to be, but eventually is questioned as to whether or not fulfilling a purpose equals a fully lived life. It has an interesting retrospective on life and how we spend our time with it. It also questions how one deals with death, how easy it comes and takes, no matter how far you've come in life. Once you're taken from this world, what do you take with you? And what do you leave behind? These are the concepts that Soul explores. 

Image credit: IMDB

The visuals are also worth noting. It's already well documented that Pixar films have incredible animation, and Soul is no different. They always have their own unique style. Soul explores the crowded city of New York, and the lively music that hugs the city. While the characters make the heart of the film, jazz is the soul (pun intended) of it. The contrasting style between the film's depiction of The Great Before and life in New York is vastly different. The Great Before imbues many blue tones and other-worldly atmosphere, while the world of the living is filled with neutral colors that feel very lively and fresh. It feels like the visuals are imbued with music, it pops, it's vibrant, it's a visual treat for the eyes. It's like how Spider-Man: Into the Spider-Verse utilizes its animation to draw you in to the streets of New York. And despite being an animated film, the color grading and lighting is quite spectacular. The music by Trent Reznor and Atticus Ross just adds a whole other level of emotion to the film, and it's the only one this year that has made me cry. There's a fine mix of upbeat jazz, techno beats, and piano-centric music. Some of the other jazzy tunes are brilliantly written and performed by Jon Batiste, which are nothing short of soulful and sanguine.

There is really no major flaw I had with Soul. As an animated film, it succeeds in conveying its subject matter, moral message, and emotional beats. For an animated film, it's well-paced and a lot of fun. Kids will still have a stellar time with the comedic moments, but the older will also find plenty of things to love. Moral messages and creative world-building had always been Pixar's forte, and Soul is one of many wonderful creations from Pixar's imaginative minds. It rarely ever becomes dull, since it's so upbeat despite its subject matter. While it talks about life and death, it leans more towards the aspects of life, and the relationships we make. You can say it's a little similar to Onward, another Pixar film that came out earlier this year. Onward dealt with loss from the perspective of those who are still alive, while Soul deals with the first-hand encounter of death itself. Of course, it isn't an actual depiction of the afterlife, but it has a very creative way of putting it. The subject matter doesn't seem like a typical concept for younger children, but Soul also keeps it light enough with plenty of jokes and the usual Pixar slapstick. One of the funniest scenes for me was a sudden jump cut involving a cat that took me aback, and I had to pause the film for a second to take a breather because I was laughing so much.

I went in to Soul expecting a wholesome and meaningful animated film that I could watch to lift my spirits, and it does, but it also did so much more. Pixar has proven time and time again that animated films are not only reserved for the young, but it can also resonate with the older. It's made even better with the fact that Pete Docter is in the director's chair. He's made some of my favorite Pixar films like Monsters, Inc, Up, and Inside Out, so it's no wonder that Soul is able to join the ranks alongside the best ones. Pixar films can be many things, but lazy is never one of them. Even some of the underwhelming ones never felt like it lacked effort. But once a film is able to elevate many of its elements, that's when they become truly special. It's why many of Pixar's films are such much loved, because it's more than just an animated film, they're films with a lot of heart, and it's made by storytellers and animators with genuine passion. Soul brought this indescribable feeling, somewhere between dealing with loss and accepting the inevitability of life. It struck this deeper feeling inside me that I never knew I had. I found myself smiling much of the time. It's heartwarming and so full of goodness, you really can't help but be emotionally invested. You're really going to go out of Soul with a smile on your face.

Image credit: IMDB

Overall verdict: Soul is a lively film, despite its subject matter on life and death. And it doesn't even lean much towards death, but more to life itself, and how we live it. It's a film about appreciating life and living our lives to the fullest. Though it deals with a mature topic, it's also very upbeat, complete with the ever soulful music. It is clear that it's a film that is made with so much passion, on a visual note, on an artistic note, on a musical note, and in terms of storytelling. Like many Pixar films before it, Soul is a feast for the eyes, bringing in fresh and eye-catching animation that are just as lovely as the music that accompanies it. And the music itself is soulfully composed by Trent Reznor and Atticus Ross, as well as other additional jazz tunes performed by Jon Batiste that are simply divine. In terms of story, Soul isn't as straightforward as prior Pixar films, it's definitely a little more mature, but it never strays too far to the point of alienating younger audiences. It is still able to tell a story that is not only easy to follow, but also filled with many fun elements and genuine, heartwarming moments. Soul is a film about living your life to the fullest, to appreciate the small things in life, and to value every minute of it. With that, Soul joins the ranks as one of the best that Pixar has made. 

Stars: 4.7/5

Soul is available to watch on Disney+

By Nadia Ranaputri 

Image credit: IMDB

Director: George C. Wolfe
Cast: Viola Davis, Chadwick Boseman, Colman Domingo, Glynn Turman, Michael Potts, Jeremy Shamos, Jonny Coyne, Taylour Paige.

Netflix has been on a roll lately. In a time where cinemas are no longer the pinnacle for a movie going experience, streaming services have taken over that spot, and Netflix wastes no time delivering strong films as the year comes to a close. First, we had Aaron Sorkin's The Trial of the Chicago 7, a spirited and moving film, then we had David Fincher's Mank, an homage to the films of the 1930s (both films that I have already reviewed). Now, director George C. Wolfe and screenwriter Ruben Santiago-Hudson are taking us to the music scene in 1927 Chicago, complete with a stunning list of powerhouse performers like Viola Davis and Chadwick Boseman. Adapted from August Wilson's The Pittsburgh Cycle, Ma Rainey's is one of  a series of ten plays that chronicles the African-American experience in the 20th Century.

In the hot swelling summer of Chicago, Ma Rainey's Black Bottom tells the story of the legendary "Mother of Blues" singer Ma Rainey (Viola Davis), who is about to record her album at the recording studio. However, several conflicts arise during the recording session. Ma Rainey has a dispute with the owner of the studio over the control of her music, while Leevee (Chadwick Boseman), the trumpeter and wild card of the band, is determined to make his stance with his lifelong dream of starting a band of his own. As the band wait to record, tension and a series of discord become center of the story; as Leevee, Cutler (Colman Domingo), Slow Drag (Michael Potts), and Toledo (Glynn Turman) engage in a series of conversations and stories regarding their battles, hopes, and dreams.

Viola Davis is magnetic as the film's headliner Ma Rainey. She's practically in charge of the whole band, holding so much power that no one even dares to question her decisions and requests. Davis is as always, a powerhouse, and this role further justifies that. She absolutely relishes playing this soulful yet stern singer. While Viola Davis is the main star, the film undoubtedly belongs to the late Chadwick Boseman. Boseman's performance is nothing short of electrifying. Everytime he's on screen, he demands on every bit of your attention. His monologue is riveting, and his delivery is powerful. So many of the film's emotional moments go to him, and it is his to command. His character arc is tragic, but it's something that he's always hidden behind his seemingly cheery demeanor. When his character does get the chance to take his arc on another level, Boseman's performance from one scene to the next just gets even more stellar. But that isn't to say that the rest of supporting cast play second fiddle, most of their performances are just as strong as Davis and Boseman. Ma's fellow bandmates join in with a chorus of performances worthy of the highest praises, particularly Colman Domingo, whose back and forth dynamic with Boseman is riveting to watch. 

Image credit: IMDB

As an adaptation of a play that takes place in one day, it succeeds at elevating the stakes for each character, particularly Davis' Ma Rainey and Boseman's Leevee. You understand each of their motivations. It does get more to the tell than show territory, which is something that I usually find as an issue, but given the time constraint and the context of the story, I can understand why they choose to go with this route. And it isn't just that, a film that tends to tell than show can actually be good if done well. Ma Rainey's Black Bottom is a good example of that. The dialogue doesn't feel shoe-horned or unnecessary, it tells the story it needs to tell. Whenever a character goes into a monologue, it's effective enough that you get a sense of who they are and what they're facing. You understand enough about the essence of the characters from their movements, their stories, the way they talk. It goes hand in hand with some neat visual storytelling, subtle but efficacious. There are moments where actions speak louder than words, and once it does, it really amps the film to a different level. If you're already familiar with Fences, another adaptation of August Wilson's work starring Viola Davis, chances are you'll have an easier time comprehending and familiarizing yourself with what the film wants to go for. 

An important thing to note when going into this film is that it is an adaptation of the stage play that feels like an actual stage play. When films are adapted from screenplays designed for the stage, it rarely ever feels like a play and mostly fitted to something more cinematic. Ma Rainey's Black Bottom however, is more like a stage play that happens to be captured on film. It takes place in the span of a single day, and much of the film is entirely dedicated to dialogues, long monologues, and rapid decisions. This isn't a bad thing in and of itself, it's just something worth noting before you see the film, because some may be taken aback by it. It is one of those in-the-moment type of films. Most of the film takes place in one setting: the recording studio. Every conflict, every development, it's all in one place. You won't see much beyond that. But there's something so ineptly powerful in a film that is able to tell so much and still catch your attention in such little time, and limited variety of places to tell it through. Ma Rainey's, for the most part, does this incredibly well. It knows how to hit the right notes, and is unashamed to aim for the highest of notes. 

Ma Rainey may have gotten her way most of the time, able to get the respect of most of the people in the studio to the point where they fulfill ridiculous requests like getting her a bottle of coke before she could sing; but Ma Rainey herself also has her own battles. Despite being able to command the room, it is clear that the producers behind her album are only interested in milking her success for their own profit rather than actual genuine interest towards her craft. "They don’t care nothing about me", Ma says in one scene, "All they want is my voice.". The film's real tragedy though, is through the band itself, particularly through Leevee. The film's core is the struggle of black artists, of how difficult it is to make music that is soulful and so truly them, and how white people can so very easily take their craft away from them. A shining and haunting example of this is when a white artist and an all-white band perform a song written and crafted by Leevee, but it is completely devoid of passion and soul that Leevee so greatly displays in prior scenes. It's uninspired and hollow, and it hits you just how much this white artist has stripped the song of any identity. In a short amount of time, Ma Rainey's Black Bottom is able to tell just a glimpse into these particular struggles, whilst also being able to hit the right emotional beats that lingers on as the film comes to a close. 

Image credit: IMDB

Overall verdict: If there's one reason to watch Ma Rainey's Black Bottom, it's for the incredible performances. Viola Davis commands every scene in great fashion as Ma Rainey, bringing in yet another electric performance. But while Davis is the headliner, it's Chadwick Boseman that takes center stage and delivers one of his best performances. Taking in some of that cheery, soulful, and emotional aspects that are slightly reminiscent of his performance as James Brown in the brilliant yet underrated film Get On Up, Boseman continuously elevates the film in every scene that he's in. The rest of the supporting cast are also just as brilliant as Davis and Boseman. Colman Domingo as Cutler in particular, makes a lasting impression and plays off with Boseman incredibly well. As a film, Ma Rainey's Black Bottom is an effective yet poignant piece that utilizes it runtime to tell as much as it could, and leaving an everlasting mark behind. It isn't just a film about black artists, but it's a film about the struggle of being one as well. Every band member, including Ma Rainey, is given time to voice their own battles, and it's hard to take your eyes off the screen when they do. While it mostly consists of dialogue and veers off to the tell than show element, the subtle visual storytelling is also worth noting for. The term actions speak louder than words is especially prevalent here. Despite taking place in the span of one day and one particular setting, Ma Rainey's Black Bottom is still able to hit all the right notes, elevated even more by the stellar performances.

Stars: 4.4/5

Ma Rainey's Black Bottom is available to watch on Netflix

By Nadia Ranaputri 

Image credit: IMDB

Director: Christopher Nolan
Cast: John David Washington, Robert Pattinson, Elizabeth Debicki, Kenneth Branagh, Dimple Kapadia, Clémence Poésy, Aaron Taylor-Johnson, Michael Caine.

Is there anything Christopher Nolan can't do? He is arguably one of the best directors working today, and the fact that he doesn't even have an Oscar yet is a crime. Nolan always seems to raise the bar on every film. Just when you thought that he couldn't get any bigger with his movies, he strides in with a head full of seemingly impossible ideas, each more complicated than the other; and the budget to bring it to life. He has indeed come a long way since his small neo-noir film Following. After giving us the epic war film that is Dunkirk, I was excited to see what Christopher Nolan would do next. What idea was he going to bring in this time? Well, if you're already familiar with Nolan's films, you'd probably know of his fascination with time, as emphasized by films like Memento, Dunkirk, Inception, and Interstellar. But this time, Nolan is bringing the concept of time to new heights. 

Tenet is about a CIA agent, only referred to as The Protagonist (John David Washington); who is recruited into the Tenet organization after unknowingly passing a test. The Protagonist is made aware of the concept of time inversion, where people and objects are able to move backwards in time. This eventually leads him to partner with Neil (Robert Pattinson) to uncover and stop a potentially dangerous weapon that could wipe out the past.

Christopher Nolan does not take visuals lightly, and it shows. From the moment you hear that he used a real plane that he could crash for the film, you're just baffled and impressed by the sheer determination that Nolan and his team put. This isn't anything new for Nolan, he has always put a sense of realism and will go the extra mile to do so, even to the point of using as little CGI as possible. Tenet is no different from the rest of Nolan's masterworks. What Nolan has done this time is unreal. The film starts off with a bang, a thrilling action-packed sequence in the Kyiv Opera House. From there, Tenet turns the gears around and takes us on its inversion-filled ride. There are several sequences where people or cars move forwards and backwards, sometimes even simultaneously. You're just strapped in the moment and joining in for the ride. It is, as others have called it, Christopher Nolan's very own James Bond movie, but with a Nolan-esque twist. Much like Nolan's dream concept in Inception, the time inversion concept in Tenet is complex yet so intriguing, I was excited to know more about it as the film goes on. I have no idea how Nolan even comes up with these ideas, he's a true genius. There is one particular scene halfway that takes place in two different rooms, and it was so brilliantly done that I had chills upon watching it. This was where the film took itself on another level, and suddenly it just elevates it, both in terms of visual and story. 

Image credit: IMDB

But beneath of all that, Tenet has some flaws too. As someone who has very much admired Nolan to the point where he is at the top of the favorite directors list, I can admit that Tenet combines the best of Nolan and unfortunately, his weaknesses. Tenet feels like a movie fit for those who are already familiar with Nolan's work, or the very least, with the likes of Inception  or Intersetellar. It requires every bit of attention, and most of it requires the audience to have already followed along as it goes. But even if you do try to decipher every detail in the film, it doesn't guarantee that you'll fully comprehend what's going on. It wants you to think, yet at the same time, it leaves you no choice but to go with the flow. Sometimes it goes for a more realistic and logical route, then other times it would simply go, "screw it," and go all out. It manages to be both cohesive and a mess at the same time, does that make sense? For some, it may not be an issue, but for others, it can make it a little difficult to get invested if most of the things that are presented goes over our heads without allowing us any time to even comprehend it. And the sound design is very much just as everyone has already said: it tends to be muddled at times to the point where you can't even tell what they're saying, because the music, though beautifully composed by Ludwig Göransson; is somewhat louder than the dialogue itself.

At times, it can feel like it stuffs itself full with an overly complex narrative, not to mention the lack of development and connection with the characters. You may feel the high stakes of the situation, but it's hard to resonate with the characters if they're mostly there to explain the plot to us. They may tell you how to feel about a certain character and the connection they have to the bigger picture, but they don't emphasize that in a visual way. Compare this with Nolan's previous film, Dunkirk. While we don't get a lot of exposition or reason to connect with the characters, Nolan is still able to raise the stakes for them with visual storytelling, staging the film in such an immersive way, so that we as the audience get to experience those stakes alongside the characters. Take Inception as another example. Despite relying on exposition, it's accompanied by visual storytelling, like how Cobb's backstory is told in both exposition and a series of flashbacks, making him a character worth resonating with. We are told what's at stake for him, both through visuals and exposition. Tenet, on the other hand, relies more on exposition than visual emphasis. You do understand the stakes, but the connection with the characters isn't there. But again, even if there is, it feels more as if the film is telling you that should be feeling some sort of emotional connection with the characters rather than letting you connect in a genuine way.

Tenet can be a mess story-wise, especially since it has questionable editing choices in some places. The first half of the film does go off to a rough start, and it's practically dedicated to information drops from various other characters. If you're already familiar with Inception though, then you know that this is one of those cases where expositions are necessary, due to the confounding nature of the film, though unlike Inception, some of the exposition in Tenet could be very glaring and overdone. It's one of those films where you don't quite understand most of what is happening until the end, and that's when it clicks, when your brain finally goes, "Oh, I get it now!" For me, that was part of the experience. Essentially, the saying in the film, "Don't try to understand it, feel it," is the only description for it that you will ever need. That aside, the ambition behind this film is out of this world. Nolan is the type of director that likes to keep the audience guessing, and even if there are exposition scenes, some of them are cleverly placed, like trinkets or clues left in various places for people to find and piece together on their own. You can still find a lot to like in Tenet, but it really feels like one of those films where your opinion on it could change over time, be it positive or negative. It took me a while to wrap my head around how I really feel about it, but it's a film that I was willing to watch again over time to see if my views change, because it seemingly changes every time I watch it. While Tenet is Nolan's most ambitious film yet, I wouldn't say that is this is best.  

Image credit: IMDB

Overall verdict: Tenet is not a movie that you can simply go in and get a fully satisfying experience. You're constantly trying to piece everything together and figure out what Nolan is going for. It's not an entirely bad thing in itself, but this won't be your run-of-the-mill sci-fi action. On the surface, it may seem like it's going to bore you out or perhaps feel like you're being spoon-fed information when you could try to decipher it on your own. However, the film's exposition dumps don't really feel like it's spoon-feeding the audience, rather it tells The Protagonist (and the audience) something, and what The Protagonist does with this information as well as the events that come to play later, that's being left to our interpretation, though it can be overdone at times and fall dangerously close to the tell than show. This is especially prevalent in the lack of character development. On a more positive note, Nolan takes visuals very seriously in his films, and Tenet is no exception. The lack of CGI in most of the action sequences add to the excitement and adds authenticity. The concept of inversion is well executed for the most part, and it further acknowledges Nolan's fascination with time. Tenet is probably going to be a divisive film from Nolan, and even I was very conflicted on this film on the first watch, despite being a huge Nolan fan. I saw the film two more times in the following days (in the comfort of my own home, of course), and that was where I started to warm up to it and understood where the film was going. Despite being a  mess at times (particularly in the first act), it ramps up halfway and that's when the film really became riveting. Overall, it is a solid film from Nolan, the most ambitious even. While it unfortunately isn't his best, the sheer scale and dedication for this film makes it worth watching.

Stars: 3.5/5