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Written by Matthew Toomey

Created: 17 March 2024

Last month, the Academy of Motion Picture Arts and Sciences announced their first new Oscars category in over two decades.  The details are still being finalised but in 2026, a statuette will be awarded to recognise the year’s best casting directors.  They’re the folk who scout around, watch tapes, hold auditions, and find the ideal actor for each role.

Wicked Little Letters is a wonderful example of just how importing casting directors can be.  It’s not a particularly deep or complicated screenplay (there’s a lot of repetition) but the actors elevate the material and make it all worthwhile.  Olivia Colman and Jessie Buckley, who starred together two years ago in The Lost Daughter, are superb as the two leads.  The supporting players are terrific also!

Set in 1920s England and loosely based on a true story, Wicked Little Letters is the tale of a town engulfed in scandal.  A series of filthy, profanity-laden letters have been sent to the home of Edith Swan (Colman), a middle-aged religious woman who still lives with her domineering father (Spall) and quiet mother (Jones).  The household suspects the author is Rose Gooding (Buckley), a free-spirited single mum who lives next door with her young daughter.  The pair recently had a falling out, hence the motive.

It’s not long before police get involved and the situation escalates.  Rose is arrested, despite protesting her innocence, and is put on trial for libel.  It’s the kind of bizarre case where everyone in town is talking about it.  Newspaper journalists add more fuel to the fire with their interviews and salacious stories.  Most members of the public believe Rose is guilty but a handful of acquaintances have doubts and are doing some off-the-record policing to validate her innocence.

Framed as a dark comedy, this latest effort from English director Thea Sharrock (Me Before You) is fun.  It succeeds as an interesting whodunit and also offers perspective on a patriarchal society.  Several of the villainous characters, such as Timothy Spall as the father, get deep under your skin.  You want to see him get what he deserves!  The friendlier individuals, played by the likes of Joanna Scanlan (After Love) and Eileen Atkins (Gosford Park), steal scenes at any opportunity with their endearing wit and charm.

The narrative may not always make sense but if looking to be moved and entertained, Wicked Little Letters is a good choice.

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Written by Matthew Toomey

Created: 04 March 2024

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

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

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

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

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

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

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Written by Matthew Toomey

Created: 12 March 2024

Marking the sophomore feature of English director Rose Glass (Saint Maud), Love Lies Bleeding is a love story with a few other elements bolted on.  Shot in New Mexico and set in the year 1989, it’s centred on an introverted young woman, Lou (Stewart), who lives alone with her cat and who manages a rundown gymnasium.  It’s far from her dream job.  Part of her day is spent dealing with aggressive, disgruntled customers while other parts are spent with her hand down a filthy toilet trying to fix a reoccurring blockage (a scene as disturbing as any horror flick).

It’s at the gym that she befriends Jackie (O’Brian), a destitute “Oklahoma farm girl” who has ambitions to be a successful bodybuilder.  She’s putting in long hours of training in preparation for an upcoming contest in Las Vegas.  Lou has an instant romantic attraction and, as part of her foreplay, helps Jackie by offering her a place to live, and performance enhancing drugs which can improve her bodybuilding physique.  It’s not long before sparks fly, and the pair are engaged in intense sex.

The love story is the film’s strongest attribute.  33-year-old Oscar nominee Kristen Stewart (Twilight, Spencer) is a terrific actor, and she brings the right balance of passion and apprehension to her shy character.  35-year-old Katy O’Brian (Ant-Man and the Wasp: Quantumania) is also solid and the two share insightful, heartfelt conversations as they open-up about their troubled pasts.  It taps into the messaging that love shapes so much of our decision making, whether it be good or bad.

The remainder of the film is questionable.  There are stories involving a crooked cop, FBI agents, an oblivious wife, and missing people.  These involve Lou’s rough-as-guts, estranged father (Harris) who operates a gun range and is involved in criminal activity.  There’s another subplot which sees Lou’s sister (Beth) hospitalised after being savagely beaten by her abusive husband (Franco).  There’s not much to any of these supporting characters and the formulaic nature of their actions (e.g. Ed Harris as the powerful gangster), limits interest levels.

The directorial style of Glass didn’t win me over either.  It’s nice to see chances being taken but the weird sound effects (muscles expanding), musical montages, and imagery didn’t blend in a way which is cool and distinctive.  There are a few worthy moments (the final scene is fun) but, for the most part, it’s bland as opposed to brave.

Fresh from its world premiere at Sundance, Love Lies Bleeding works as a romance but fails as a crime drama.

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Written by Matthew Toomey

Created: 28 February 2024

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

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

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

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

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

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

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Written by Matthew Toomey

Created: 04 March 2024

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

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

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

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

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

How to Have Sex is not to be missed.