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Written by Matthew Toomey

Created: 19 December 2021

I was in a Brisbane book store earlier this week (late Christmas shopping) and saw a section entitled “motivation” that was filled with hundreds of self-help/advice books on an array of topics.  It illustrates that when it comes to life, there’s no one-size-fits-all rule.  We’re all different people with different personalities from different backgrounds.  Books can provide useful guidance but when it comes to finding happiness in life, we’ve all got our own separate path.  It’s something we have to find ourselves.

This is a key theme in the memorably titled The Worst Person in the World, a new movie from acclaimed Norwegian filmmaker Joachim Trier (Reprise, Oslo August 31^st).  The central character is Julie (Reinsve), a 29-year-old from Oslo who is still searching for love and a career.  It’s not for lack of trying.  She’s just very non-committal.  Like a kid in a toy store, she’ll devote her sole attention to something for a fleeting moment… before something else catches her attention and the process repeats.

Trier’s film is split into 14 identified parts – a prologue, 12 chapters, and an epilogue – which serve as short stories and provide a glimpse into Julie’s world.  She stumbles her way through several jobs, argues with her family, and falls in love with two different guys, Aksel (Lie) and Elvind (Nordrum).  The film’s tone is forever shifting with moments of comedy (she publishes an article on oral sex), moments of drama (people battling terminal cancer), and moments that fit somewhere in between.

As a love of great romantic comedies, Trier set out to make one where it’s not simply about a woman looking for man but rather one which shows how different partners can bring out different things within.  With a traditional rom-com, you often know who the protagonist will end up with (as one guy ends up being a complete schmuck which makes it an easy choice.  That’s not often the case in real life and it’s certainly not the case in The World Person in the World.  It’s refreshing to watch a realistic romantic tale which doesn’t follow well-worn formulas.

The three leads are terrific with Renate Reinsve taking much of the spotlight with her superb performance as Julie.  She won the best actress prize at the Cannes Film Festival and earned a nomination at the European Film Awards.  In an incredibly competitive year for non-English language cinema, the movie has been submitted as Norway’s entry for the upcoming Academy Awards (and I’d love to see it earn a nomination).

With intelligent, insightful, honest dialogue between the characters, The Worst Person in the World is one of the more interesting and thought-provoking movies releases this year.  Worth your money.

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Written by Matthew Toomey

Created: 29 November 2021

We should celebrate our differences.  It’s not a new message but it’s the key one driven home in Encanto, the latest effort from Walt Disney Animation Studios.  It’s set in a small, happy-go-lucky village in the forests of Colombia where every resident is given an enduring superpower when they lay their hands on a special candle.  For example, Luisa has infinite strength, Isabela can make flowers bloom, and Antonio can speak to animals.

It’s been that way for fifty years but cracks, both physically and metaphorically, are starting to appear in this idyllic world.  Trouble began when a young woman, Mirabel (Beatriz), undertook the gala touch-the-candle ceremony and came away with nought.  She puts up a brave, smiling face but deep down, her insecurities have taken hold and she can’t understand why the candle didn’t bless her with a magical power.

Things get complicated in the film’s second act where Mirabel speaks to a variety of people in search of answers.  These include her mother, grandmother and two sisters.  The individual offering the most insight is her ostracised uncle, Bruno (Leguizamo), who has not-so-bright visions of the future and the role that Mirabel will play in it.  Will these visions translate into reality?

Encanto could be described as a quasi-musical in the sense that while most of the dialogue is spoken, there are a handful of moments where characters break out into song.  The lyrics sprang from the mind of Lin-Manuel Miranda (Hamilton, In the Heights) and the music was crafted by Germaine Franco (Coco).  Given the setting, traditional Colombian folk instruments were used including a three-stringed guitar and a flute made from dried cactus.

The most interesting element of the storyline is the house they all live in – a dual-story dwelling that feels like a living creature as it too is infused with magic.  No servants are required given the windows open automatically, the table sets itself of a morning, and the internal stairs transform into a slippery slide to entertain the kids.  The rattling of the tiles, both on the roof and on the floor, also creates a cool sound effect.

I wasn’t as impressed with the characters.  The supporting players are tiresomely one-dimensional and when it comes to the leads, particularly Mirabel and her heavy-handed grandmother, the tension created doesn’t ring true.  Again, you can see the themes being pushed but petty arguments over superpowers and an eternally burning candle struggle to generate much in terms of emotion and heart.

There’s enough to entertain younger audiences but I’m not convinced Encanto will be remembered as a Disney classic.

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Written by Matthew Toomey

Created: 05 December 2021

The internet has been flooded with tributes over the past week in recognition of iconic composer and lyricist Stephen Sondheim who passed away at the age of 91. On accepting a Tony Award in 1972 (he won eight in total), Sondheim quoted playwright David Trainer in reminding people that theatre, unlike television and movies, “is the only medium that acknowledges the presence of the audience.”

It’s part of the reason why Manhattan in New York City is one of my favourite places on the planet. Between 41^st Street and 54^th Street, you will find 40 theatres that hold audiences of up to 2,000 people. Tickets can be pricey but you have the opportunity to see some of the world’s finest actors perform live and, if you’re lucky, you can nab their autograph on your complimentary program and say “you were awesome” if you wait outside the stage door after the show.

Given it had won the Tony Award that year for best new musical (beating out Come from Away), I made sure to catch Dear Evan Hansen at the Music Box Theatre when visiting New York in July 2017. I described it at the time as “gut-wrenchingly beautiful with an incredible lead performance from Ben Platt.” Writer Steven Levenson crafted a complex narrative with an anti-social leading character, and musicians Benj Pasek and Justin Paul (La La Land) added distinctive songs which amplified the film’s key emotions.

Two downsides of theatre are (1) not everyone can jump on a plane and head to Broadway / West End to see a much-hyped new show, and (2) once you’ve seen it, you must rely on memories of the experience (or perhaps listen to the soundtrack a few times). With Dear Evan Hansen now adapted into a movie by director Stephen Chbosky (The Perks of Being a Wallflower), the opportunity exists for new audiences to discover this acclaimed musical and for existing fans to relive it.

The story is centred on Evan Hansen (Platt), a 17-year-old introverted high school student who has no good friends and is seeing a therapist to help deal with depression and social anxiety. A convoluted series of events then upend his life. A fellow student, Connor Murphy (Ryan), commits suicide and in the aftermath of the tragedy, Connor’s parents erroneously believe Evan was one of their son’s best friends. Evan goes along with the ruse (he doesn’t want to upset the parents further) but when welcomed into the Murphy family and asked detailed questions, the lies become bigger and a reluctant Evan isn’t sure what to do next.

While there’s no true substitute for quality live theatre, Chbosky does an admirable job translating the energy from the stage show and bringing it into the movie. Hollywood tends to favour big, colourful, loud, well-choreographed musical numbers with huge ensembles. Dear Evan Hansen leans in the opposite direction. This is particularly evident in an early scene involving Connor’s parents (Adams and Pino) and sister (Dever) as they agonise over their son’s death (the song is entitled “Requiem”).

Using cinema as a storytelling medium also affords the director with further options and to illustrate, Chbosky weaves well-timed flashbacks into the narrative to provide additional background to the characters. Connor’s sister, played wonderfully by Kaitlyn Dever (Booksmart), is an example of someone who gets more attention and hence, feels like a clearer, more fulsome individual. I’m not sure it was necessary but small changes have also been made to the finale to soften the harder edges.

A few have been critical of the film’s messages and others have questioned using a 28-year-old to play the lead teenager (despite the fact Platt is reprising the role he made famous on Broadway). While there is some merit in those barbs, Dear Evan Hansen still holds up as a darker musical about grief, depression, families, social media and redemption.

You can read/listen to my chat with director Stephen Chbosky by clicking here.

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Written by Matthew Toomey

Created: 28 November 2021

When it comes to remakes and reboots, Hollywood has a natural tendency to stick what works. From comic book adaptations like Spider-Man, to dramas-turned-musicals like A Star is Born, to action-fests like King Kong, to period piece dramas like Little Women, to like-action transfers like Beauty and the Beast, to slasher-thrillers like Halloween, to iconic Westerns like True Grit. The rationale is obvious – if it’s made money before, there’s a good chance it’ll make money again.

Dune goes against the grain. Yes, it’s based on the best-selling 1965 science-fiction novel from author Frank Herbert but when first adapted for the screen in 1984, it was both a critical and financial failure. America’s two leading film critics of the time, Gene Siskel and Roger Ebert, described it as “the biggest disappointment of the year” and “needlessly complicated”. It made just $30 million USD at the local box-office (below its budget) and even director David Lynch admitted it was “a total failure”.

The most noticeable difference in this new adaptation from French-Canadian director Denis Villeneuve (Prisoners, Arrival) is that it’s a two-parter with the second instalment slated for release in late 2023. Having five hours to work with, as opposed to just two, provides a far greater opportunity to explore this interesting world and flesh out the many characters within it. Utilising the latest technology in terms of both visual and sound effects also provides a leg-up over its cheaper-looking predecessor.

The plot is hard to surmise succinctly but to do my best, Dune is a multi-way power struggle set in the distant future (the year 10191 to be precise). The desert planet of Arrakis contains the most valuable substance in the universe – a “spice” used as fuel for interstellar travel. Three key groups are looking to control it – the alliance-building House Atredies, the villainous House Harkonnen, and the native population of Freman. Oh, I should mention the planet is also home to some giant, people-eating worms!

Whilst the film boasts one of the largest big-name casts of the year, this is Timothée Chalamet’s show. He’s front and centre throughout and his impassioned, note-perfect performance is the key reason why audiences will invest their emotions. He plays the stylish Paul Atreides, heir to his family’s throne and a powerful young warrior who is discovering and harnessing newfound skills, both physical and mental, that will be pivotal in deciding the future of Arrakis. Following on from his Oscar nominated performance in Call Me by Your Name and scene-stealing efforts in Little Women, I’m convinced the 25-year-old Chalamet is one of the best actors of his generation.

Villeneuve has been publicly critical of a decision made by Warner Bros. to release his film simultaneously in cinemas and HBO Max in the United States. That view could be seen as arrogant and near-sighted (given everything that’s happened with COVID) but having seen the finished product, it’s easier to see why he wants it seen in packed movie theatres.

Dune is as much an experience as it is a movie – an orgy of immersive visuals, music and sound that pull you into its enthralling world. I bought my first Hans Zimmer soundtrack three decades ago (Backdraft) and Dune will be the next addition to the collection. The 64-year-old composer is the master of adrenalin-pumping scores (Interstellar is a masterpiece) and this is another beauty. Australian cinematographer Greig Fraser (Lion) also deserves a shout-out for the distinctive contrasts he creates (interior v. exterior shots) and the use of tight facial close-ups in pivotal scenes. It resembles a poetic Terrence Malick film in places.

While the original Dune struggled, early reviews and box-office figures suggest Villeneuve’s remake is being received far more positively. Deservedly so.

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Written by Matthew Toomey

Created: 05 December 2021

Some filmmakers try to tell a good story with interesting characters. Other filmmakers do the same but add their own “director’s stamp”. Wes Anderson fits into the later category. I don’t think there’s another director working today who is as distinctive and obvious as Anderson. Anyone with a half-decent knowledge of film could watch the first 5 minutes of The French Dispatch, sans credits, and know who directed it.

The film opens with the narrator (Anjelica Huston) informing us of the death of Arthur Howitzer Jr (Murray), an American based in France who, for many years, has produced and edited a widely read newspaper called The French Dispatch. His will specified the newspaper will cease upon his passing and so, his hard-working journalists and staff have cobbled together one final issue for readers to enjoy.

The movie is then divvied up into three separate short stories with each one representing an article in the paper’s final edition. The first involves a prison inmate (del Toro) who paints nudes of a security guard (Seydoux) and becomes an internationally renowned artist. The second is centred on a student protest led by two not-so-experienced revolutionaries (Chalamet and Khoudri). The final tale revolves around the kidnapped son of a high-profile police officer (Amalric) and the importance of his gifted chef (Park).

The journalists covering these worthy stories are respectively played by Tilda Swinton, Frances McDormand and Jeffrey Wright. There’s a myriad of other well-known, award-winning cast members who were clearly happy to contribute a day of their time for the chance to work with Anderson, even if just for a single scene. This list includes Elisabeth Moss, Henry Winkler, Christoph Walz, Liev Schreiber, Edward Norton and Saoirse Ronan.

I’ve long been a fan of Wes Anderson but The French Dispatch is one of his least engaging efforts. It feels like a torrent of over-the-top narration and flashy adjectives. This makes it harder to connect with the characters and understand their motivations and emotions. There are glimpses of something deeper (like when Frances McDormand opens up about the lonely life of journalist) but not enough to make this a winner.

It’s been over five months since The French Dispatch premiered at the 2021 Cannes Film Festival and there’s now enough evidence to suggest this is Anderson’s most divisive film. Some are including it in their annual “top 10 list” and hyping its chances for next year’s Academy Awards. On the flip side, I spotted at least 20 walkouts during the sold-out public preview screening I attended here in Brisbane.

I’ll admit the quirky nature of the three stories lingered with me long after leaving the theatre (that’s a good thing) but if Anderson intended this to be a “love letter to journalists” then I’m not sure it’s a box that can be fully ticked.