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Written by Matthew Toomey

Created: 05 February 2023

17-year-old Nicholas Miller (McGrath) is struggling with depression.  There are glimpses of what’s going on inside, like when he confides in a therapist that he doesn’t feel close with people his own age, but Nicholas refuses to fully open-up.  He speaks vaguely that “life is weighing me down” and “I don’t know how to describe it.”  Every time his mum (Dern) asks a question, Nicholas’ answers are short, defensive, and unemotive.

Academy Award winning writer-director Florian Zeller (The Father), in adapting this from his own stage play, doesn’t delve into the cause of mental illness.  In interviews for the film, he describes depression as a “mystery” where there’s often “no clear explanation” for what’s behind it.  I’m fine with his interpretation but the lack of clarity behind Nicholas’ troubles may frustrate some viewers.

What Zeller does illustrate is the impact of depression on those around us, particularly our close family.  Nicholas’ parents are divorced and having spent several years living with his birth mother, he asks to move in his dad (Jackman) and step-mum (Kirby) for reasons that don’t always make sense.  Their differing reactions to the circumstances are the film’s most thought-provoking elements.  Do these characters deserve any negative judgement?

The dad wants to genuinely help but his approach is to come up with easy answers (e.g. his son probably just got rejected by a girl) as opposed to understanding the deeper complexities of depression.  He’s also struggling to find the balance between his already busy work life and his now semi-upended home life.  The step-mum, busy with a newborn baby of her own, admits to being “unsettled” by Nicholas’ arrival and the new living arrangements.  However, she doesn’t want to push back too strongly so as not to be seen as insensitive.

The Son is scrappy in places.  Two-time Oscar winner Anthony Hopkins appears in a scene which is more of a “cameo” to help boost advertising potential as opposed to something necessary to the film’s narrative.  It’s a trivial subplot which wasn’t even in the play.  Another minor storyline involving the dad possibly working with a U.S. Senator also comes across as a time-filling distraction.  Did we really need a close-up of an obviously distracted Hugh Jackman sitting around a boardroom table?

Qualms aside, I was interested by the interaction between the four leads.  20-year-old Australian newcomer Zen McGrath is up to the challenge of the tricky role and working alongside his experienced co-stars.  I also enjoyed the way in which Zeller slowly builds tension and keeps audiences unsure about whether a happy resolution is possible.  This is highlighted in a great scene where a babysitter cancels and other options are then debated.

Unable to match the awards season love of The Father, The Son reaffirms Zeller’s talents as a great storyteller.

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Written by Matthew Toomey

Created: 24 January 2023

Marking the first feature film of Indian director Shekhar Kapur (Elizabeth) in 15 years, What’s Love Got to Do with It? is a British romantic comedy centred on two close friends/neighbours looking for love via different methods.  Zoe (James) is an award-winning documentary filmmaker in search of guys through dating apps.  Kaz (Latif) is doctor who has agreed to a semi-arranged marriage to a shy Pakistani woman (Aly) from he’s only just met.

These two are surrounded by folks willing to offer opinions, whether warranted or not.  These include Kaz’s deeply conservative parents still trying to heal other rifts within the family.  There’s also Zoe’s nosy, inquisitive mum (Thompson) who offers blunt martial wisdom while unashamedly slagging her own ex-husband.  BAFTA nominated actor Asim Chaudhry (People Just Do Nothing) makes the most of his scenes as the progressive boss of a matchmaking business humorously named the “Matrimonial Advice Bureau.”

First time screenwriter Jemima Khan adds an extra layer by creating a film within the film.  Having convinced her sceptical bosses, Zoe gets approval to make a documentary about Kaz’s upcoming arranged marriage.  This provides an opportunity for characters to speak directly to the camera and open up about their thoughts.  It also serves as a vehicle for other people, unrelated to the main show, to speak of differing experiences within the subject of arranged marriages.

As is often the case with romantic comedies, it’s hard to shake a lingering sense of predictability throughout.  You know where this film is heading at all times.  There’s still a lot on offer though.  Stars Lily James (Cinderella) and Shazad Latif (Star Trek: Discovery) are a nice pairing as they engage in intense, intelligent conversations and try to change the other’s views.  Emma Thompson (Good Luck to You, Leo Grande) continues her stellar year as the well-intentioned, not-so-culturally-aware mum who unknowingly slips up with backhanded compliments.

Through its two lead characters and a few quick facts (like figures around divorce rates), What’s Love Got to Do with It? entertainingly highlights both the similarities and differences between societies when it comes to finding romance.  It reminds us there’s no “right” way.  It’s up to each individual to identify what works best for them.  I can’t fault that message.

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Written by Matthew Toomey

Created: 05 February 2023

In February 2015, 41-year-old American photographer Kit Cowan died after an 11-month battle with Neuroendocrine cancer.  Just prior to his passing, he made a gut-wrenching comment to his best friend, Jen, which she’s never forgotten – “please don’t forget me.”  She relayed that comment to Kit’s partner of 14 years, Michael Ausiello, who was equally devastated.

That moment, coupled with the suggestion of a book editor not longer after, helped serve as motivation for Michael to write a memoir about Kit and their time together.  It was published in 2018 and, not long after, the film rights were snapped up by Focus Features.  Jim Parsons (The Big Bang Theory) would star and produce while Michael Showalter (The Big Sick) would direct.

Spoiler Alert is a film of two tonally different halves.  The first hour is a quirky rom-com about two guys who fall in love in the late 1990s.  Michael is a self-described “hopeless romantic” who works for TV Guide and developed a love for television after watching soapies with his mum.  He’s a little shy, a little nerdish, and little unusual (particularly when it comes to interior design at home).  It’s at a gay nightclub where he meets Kit, a handsome man working as an advertising guru for local restaurants.  The film delves into their introduction, first date, and early hook-ups.

The second hour takes us forward roughly 14 years and we learn from a dinner party that their relationship has been through a few rocky ups and downs.  It’s at this point where Kit visits the doctor, discovers a growth in his rectum, and is diagnosed with a stage 4 cancerous tumour.  As you’d expect, the film’s atmosphere is much more dramatic by this point.  Knowing you only have a few months left to live can provide an unexpected clarity.  Michael and Kit forget about previous squabbles and the focus is on maximising their remaining time together.

It’s not telling us anything new… but Spoiler Alert is still a sweet, heartfelt movie.  It devotes ample time towards character development in the early stages and, given we now have an affection for the two protagonists, this helps create a genuine emotional response in the later stages.  The screenplay of David Marshall Grant and Dan Savage doesn’t shy away from the brutality of cancer.  The most affecting scene in the film is one where Michael visits Kit one final time in hospital knowing he has just hours left to live.  It’s hard not to be moved.

Yes, it’s slightly Hollywood-ised (as you’d expect) but Spoiler Alert will help ensure the life of Kit Cowan is not soon forgotten.  It’s also a nice reminder that when it comes to tragedy and dealing with grief, we’re far from alone.

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Written by Matthew Toomey

Created: 23 January 2023

I’ve had three months to stew over Tár given the lengthy lag between its local premiere at the Brisbane Film Festival and now its broader, unusually late release across Australia.  That’s a good thing because it’s the kind of movie where the more you think about, the more you appreciate it.  It’s been 16 years since Oscar-nominated director Todd Field made a movie (In the Bedroom, Little Children) and the wait has been worth it.  This is a riveting character study that will take a long time to unwrap depending on which piece of tight sticky-tape you attack first.

The movie is centred on a fictious, EGOT-winning composer-conductor named Lydia Tár (Blanchett).  From the way she is adored and respected by audiences in the early scenes, you get a clear sense she’s the Tiger Woods of music composition.  There’s very little left to achieve professionally but her latest project is to conduct a live, 70-minute performance of Gustav Mahler’s 5^th Symphony – the only one of the famed composer’s symphonies she has not yet tackled.

One theme Tár delves into is the connection, and sometimes disconnection, between the way celebrities are perceived professionally as opposed to privately.  There are folks behind the scenes who don’t like Lydia Tár because of her arrogant, selfish nature and her disrespect of hard-working staff.  At what point does that start to tarnish her image and legacy?  Can she get away with more given her talent?  It’s akin to passionate fans turning a blind eye to a gifted footballer’s “off-field discretions” purely because he is so important to a team’s performance.

Another question to ponder is whether Lydia Tár is the villain of this story?  It’s hard to appease everyone in life and while yes, she is harsh when speaking with her orchestra and support staff, is “tough love” something that must be dished out to be the world’s best?  Where’s the line between merely having high standards, and being downright abusive?  When you’re on top of your profession and everyone wants a piece of your time, is making enemies inevitable?  Several critics/viewers have made comparisons with the 2014 Oscar-winning drama Whiplash which explores the same subject but from the perspective of the student as opposed to the teacher. 

Australian Cate Blanchett has seven Academy Award nominations to her name (she won for The Aviator and Blue Jasmine) and she’s about to be anointed again for her unforgettable performance as Lydia Tár.  Just as she did in Blue Jasmine, Blanchett has created a multi-faceted protagonist who could be judged in any number of ways.  A focus will be towards the effect she has on others, but I’m also still pondering how self-aware she is of her own strengths and weaknesses.  Todd Field has been cryptic in interviews and wants audiences to form their own answers to the questions posed.

With one of the best final scenes you could ever imagine, Tár is a stellar piece of cinema.

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Written by Matthew Toomey

Created: 30 January 2023

Since its premiere at the Venice Film Festival last September, the buzz for The Whale has been focused on its leading man, Brendan Fraser.  He’s best known for his work in The Mummy franchise but roles in films such as Gods & Monsters, my second favourite release of 1999 behind Being John Malkovich, illustrated his dramatic versatility.  It’s been a tough decade though.  This is the first time Fraser has starred in a live-action movie which has grossed more than $10 million since the forgettable Furry Vengeance in 2010.

The same industry that collectively turned its back on Fraser has now welcomed him back with open arms.  Hollywood loves a comeback (well, every now again).  It’s reminiscent of the defibrillator applied to the career of Mickey Rourke in 2008 with his incredible, award-winning performance in The Wrestler.  It’s a film which springs to mind as both it and The Whale were directed by Darren Aronofsky (Requiem for a Dream, Black Swan).  His films tend to be divisive but it’s hard to argue with his ability to find great actors and extract greater performances.

Set entirely within a rundown apartment, The Whale is a two-hour drama centred on a morbidly obese man named Charlie (Fraser) diagnosed with congestive heart failure.  He struggles to breathe, experiences chest pains, and isn’t sleeping well.  His blood pressure is an alarming 238 over 134!  Instead of addressing his health issues, Charlie’s focus is on reconciling with his estranged teenage daughter, Ellie (Sink), who is on the verge of flunking out of high school.  The pair haven’t been close since Charlie walked out on the family when Ellie was an impressionable 8-year-old.

The structure of the film is repetitive.  Charlie interacts, to varying extents, with five key characters who visit over several days – his aforementioned daughter, his ex-wife (Morton), his caregiver (Chau), a young missionary (Simpkins), and a pizza delivery driver (Sridharan).  The conversations he shares with these folk offer partial insight into his messy past (how did he lose contact with his daughter?), his current state (why is he so fat?), and his plans for the future (why doesn’t he seek medical treatment?).

The revolving door nature of these visits (someone leaves, someone enters) give it the feeling of a play. That’s no surprise given the source material is a 2012 stage show authored by Samuel D. Hunter who then adapted it a movie.  It’s that script which is the problem here.  The worthy performances, headlined by Fraser and Chau who both earned their first Oscar nominations, mask the very limited character development.

There’s not much to this story at all when you break it down.  The missionary adds next-to-nothing, the caregiver’s complicity is barely questioned, and Charlie’s “I suddenly decided to put my daughter first” attitude is difficult to reconcile.  Having a sad, lonely, overweight protagonist might earn the sympathies of some audience members but I didn’t know enough about these people to care.