Movie Review – Tulip Fever

Tulip Fever burns slower than it takes for a tulip to grow and bloom.


Elle Cahill

It’s 17th Century Amsterdam and a wealthy Dutchman, Cornelis Sandvoort and his wife, Sophia, are having trouble conceiving. Despite the young wife’s fears that her much older husband will soon divorce her, he pays for up-and-coming artist Jan van Loos to paint their portrait. As he paints the couple, van Loos quickly falls in love with the young Sophia and they start a passionate affair.

There is a lot going on in Tulip Fever, and for the most part it’s hard to keep up with all the different storylines. For almost every character that is introduced in the film, we are given a sliver of their story without any real development, both from a story and character perspective. I counted a total of seven storylines, which is too big a number to fit into a 105-minute film, particularly when the film is also trying to set up the historical backdrop of the tulip mania that took over Amsterdam in the 17th Century, and plays a large part in the overall story.

Tulip Fever has a phenomenal cast including Judi Dench, Christoph Waltz, Alicia Vikander, Tom Hollander, Jack O’Connell, and many more, but director Justin Chadwick fails to utilise their full potential. Dench effortlessly steals every scene she’s in as the head nun of a local parish in charge of growing the tulips for auction, as does Waltz in his portrayal of husband Cornelis Sandvoort, who genuinely loves Sophia (Vikander) and wants to do right by her but is desperate for her to deliver an heir. Hollander also get’s an honourable mention as the sleazy doctor who brings moments of comic relief to an otherwise contrived plot. But this is far from being their best work and feels like a huge waste of talent.

The most interesting part of the film is its attempt at exploring the tulip mania. While it fails to truly show the significance of the mania, it helps establish the film’s setting, and also give a basic insight to the craze that overtook Amsterdam. Unfortunately, like the rest of the film, it gets muddled up with all the concurrent character arcs and fails to bring anything other than tulips to the story.

There is some beautiful cinematography by Eigil Bryld, particularly when Sophia’s on the beach at various points in the film, but most of the time these scenes feel overly indulgent.

Tulip Fever is a real slow-burner that has a lot going on across the various storylines without any proper development taking place. Its failure to pick a central character leaves you feeling confused at the end, as you’re not invested in any of them. I also can’t tell you who or what the antagonist is in this film because it’s never properly identified. This film should serve as a warning as to what happens when indulgence trumps quality.

Tulip Fever is available in Australian cinemas from November 23.

Image courtesy of Roadshow Films 2017.

 

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Movie Review – Justice League

DC takes two steps forward and one step back on its bumper team-up tentpole, Justice League.

⭐ ⭐  ½
Rhys Graeme-Drury

After fours years, just as many films and a hype train large enough to tow a small planet, DC and Warner Brothers hastily arrive at their Avengers moment in Justice League, a crossover event that sees established superheroes like Ben Affleck’s Batman and Gal Gadot’s Wonder Woman team up with fresh faces such as The Flash (Ezra Miller), Aquaman (Jason Momoa) and Cyborg (Ray Fisher).

Their mission is to stop Steppenwolf (voiced by Ciaran Hinds), an ancient interdimensional demon from uniting three ‘mother boxes’, shiny Rubix Cubes with the power to destroy all life on Earth when joined as one.

Having undergone a troubled production, the expectation going in is that Justice League would be a mess, visually, tonally and narratively. Unfortunately, those fears appear to have been well-founded for the most part; Snyder’s third swing of the bat isn’t a miss on the scale of 2016’s Batman v Superman: Dawn of Justice, but it’s hardly the home run many fans were hoping for either.

Narratively, cowriters Chris Terrio and Joss Whedon (the latter of whom also directed a few reshoots after Snyder departed following a family tragedy) cobble together a passable plot that is markedly more straightforward than its bloated predecessor.

This streamlining is a good thing; rather than getting bogged down by mythology, Justice League (with Whedon offering some of his trademark quips) affords its central five heroes time to interact. Batman and Wonder Woman don’t see eye to eye; Cyborg isn’t a fan of Flash’s silliness. It endears us to their cause, making the abysmal CGI throwdown in the third act at least tolerable.

Visually, Justice League isn’t great. The VFX lacks polish and an overreliance on green screen is abundantly clear once the heroes jet off to face their ultimate foe in the final act. The reshoots and last minute tinkering hasn’t done much to help in this department.

The cast is a mixed bag as well; Affleck swings between suave and narcoleptic; Gadot is equal parts a radiant beam of sunlight and a thrilling whirlwind of ferocity; Miller is a jittery and sarcastic millennial who can’t sit still; Fisher is stoic and only afforded a hint of depth; and Momoa’s Aquaman is an insufferable X Games bro with milky white contacts and a penchant for surf lingo – it comes as a surprise that he doesn’t throw a single shaka.

Even the score is a hodgepodge of intersecting leitmotifs, as Danny Elfman throws everything but the kitchen sink into the mix; Hans Zimmer’s uplifting Man of Steel theme and Junkie XL’s thunderous Wonder Woman cues overlap with John Williams’ original Superman theme and Elfman’s own 1989 Batman score. The result is clunky and disjointed – a summation that extends to most of Justice League, to be brutally honest.

And so, we arrive at the end. Things are more hopeful, the status quo has shifted once again and better things to come are teased. But it does beg the question, how long can audiences go before the crippling mediocrity (save for Wonder Woman) lastingly cripples DC’s efforts to ape Marvel? Justice League sees the former lean into the latter’s formula heavily, and it signals a shift in the right direction, albeit a slow one. Once again I find myself whispering under the breath – “maybe the next one will be better…”

Justice League is available in Australian cinemas from November 16.

Image courtesy of Roadshow Films 2017.

Movie Review – Goodbye Christopher Robin

Simon Curtis’ Goodbye Christopher Robin does its job but definitely arrived with the ambition to do more.

⭐ ⭐ ⭐
Zachary Cruz-Tan

Goodbye Christopher Robin assembles all the elements of a great historical drama, but somehow fails to fit them together. It’s never quite as cohesive as it’s meant to be. It’s touching and sad, supremely shot, beautiful to look at, but forgets the piece that completes the picture. And quite surprisingly, Margot Robbie turns in a high school performance that should’ve been eaten by her dog.

But the film raises interesting questions. We follow A. A. Milne (Domhnall Gleeson), who we know will create Winnie The Pooh, as he returns to London after fighting in the Great War, still haunted by nasty flashbacks that are triggered by innocuous balloon pops. He needs a sanctuary in which to continue his playwriting, so impulsively shifts his family to the countryside, where his young son Christopher Robin (Will Tilston), who prefers his nickname Billy Moon, frolics amongst the trees with his stuffed toys and his watchful nanny Olive (Kelly Macdonald) is ordered to stay away from his busy father.

Naturally, circumstances arise that leave Billy alone with Milne. So the two begin to bond and before long Milne has created a children’s character based around his own son and his somewhat-imaginary friends. Seems harmless enough. But the fearsome genteel nature of the Milne’s makes them incapable of comprehending the impact of super stardom on a child who is not prepared for it. Billy is dressed to resemble the Christopher Robin of the Pooh books and is shoved into radio interviews and publicity photo shoots as the real thing. “He needs to grow up!”, asserts Olive. “He can’t do this!” “He seems to be doing it quite well actually”, replies his mother.

The film is written by Frank Cottrell-Boyce and Simon Vaughan, and the duo pay less attention to their dialogue than the relationship between father and son. Did Milne intend to hurt his son? Of course not. But then, looking at Milne, does he know what hurt is anymore? Yes, you could say the war shook him up real bad, but surely it’s the stoic Englishness of the time that ruined an otherwise beautiful relationship. In a household that doesn’t permit crying, how do you find out when someone’s in pain?

The irony of course is that tragedy had to happen for the world to be introduced to one of the happiest characters of all time. Winnie The Pooh charmed countless children across the world but had to break apart a family to do it. It’s this fractured logic that forms the centre of Goodbye Christopher Robin, and not the war, the countryside or Winnie The Pooh.

Later we get to see an older Billy Moon (played by Alex Lawther), after having been abused by schoolmates for his fame. He’s broken and resents his father for using him to create an empire, trotting off to fight in a war his father fought to prevent. It’s poetic how history is doomed to repeat itself.

These are all the parts of the movie that work, and I enjoyed the way young Tilston embodies all that is cheerful. Without him I suspect the movie would’ve been flat. As it is, it’s only moderately bumpy, not putting a foot wrong but not exactly sprinting down a tightrope.

Goodbye Christopher Robin is available in Australian cinemas from November 23.

Image courtesy of 20th Century Fox 2017.

Movie Review – The Killing of a Sacred Deer

Dark, twisted and hilarious. Yorgos Lanthimos continues to grow in strength with his disturbing latest film, The Killing of A Sacred Deer.

⭐ ⭐ ⭐ ⭐
Josip Knezevic

It seems the pattern of disturbingly good films by Yorgos Lanthimos continues to increase in range. For those familiar with his films of Dogtooth and The Lobster, Lanthimos’s latest film, The Killing of A Sacred Deer, also explores a dark concept but with a twisted sense of humour. Once again, these two genres are balanced effortlessly throughout and the finish product is yet another masterclass from the director.

Colin Farrell stars in the lead role and is unfortunately placed into another caliginous scenario that sees him tested in different strengths. Without giving away the film’s main trick, Farrell plays a father of two with a loving wife, and is put to make an extremely difficult decision that will end up affecting the family dynamic forever.

Aside from watching the situation unfold as Farrell battles to resolve his dilemma, the entire universe Lanthimos creates is intriguing. From the very moment the film begins, you get the sense of unnatural behaviour just by the dialogue between two characters and this unease never leaves the screen.

It’s an almost like an entirely different world of humans, but they’re just not very human like. At least to what our society is used to. Great examples of this are the astute observations and over politeness each character exuberates. It’s just unnatural and purposefully executed as a subtle commentary on society. But moreover, it’s all awkwardly hilarious.

This is why I love Lanthimos’ films. Not only are they simply exploring a compelling dark concept, they’re quite funny at the same time. Most of these jokes comes from being in such unique situations that other films can’t make, because they’re simply not in the same position. Numerous times a character would say something in such an unusual but nonchalant way that it becomes hilarious to watch. And when it came moments of humour that were of the darker taste, these were executed flawlessly and without overstepping boundaries. Indeed, The Killing of a Sacred Deer is a fine piece for showing that the art of black comedy in 2017 is alive and well.

My only gripe with the film is that it is a bit of a slow burn and it can feel particularly sluggish at times. Especially within the middle third, where you’ve been introduced to the setup and are simply waiting for it to hurry to the climax. Part of this feels like it could have been edited or reworked to have more going on to keep interest, like in The Lobster.

But again, this is a minor complaint. The film is acted perfectly, with veteran actors of Farrell and Nicole Kidman as his wife particular standouts. Though the cinematography isn’t of anything scenic or picturesque, it does well to capture the darkness and unnatural tone on characters that the film clearly aims towards.

For lovers of The Lobster and black comedy films with unique and interesting concepts, The Killing of a Sacred Deer is a fantastic film and one sure to be on top ten lists for this year.

The Killing of a Sacred Deer is available in Australian cinemas from November 16.

Image courtesy of Madman Entertainment 2017

Movie Review – Brad’s Status

Ben Stiller ponders his lot in life in Mike White’s quietly humorous and thoughtful new film. 

⭐ ⭐ ⭐ ⭐
Rhys Graeme-Drury

Brad Sloan (Ben Stiller) is nearly 50 and has a lot of stuff going on in his melon. His not-for-profit business has stalled, his one and only child – Troy (Austin Abrams) – is heading off to college and his marriage to Melanie (Jenna Fischer) isn’t the excitable romp it once was.

As a result, Brad lies awake at night yearning for what could have been, for the lives he could have led. His mind wanders to those he aligned himself with during college (Michael Sheen, Jemaine Clement, Luke Wilson), who have gone on to enjoy riches and success in the intervening years, forgetting and distancing themselves from Brad and his painfully mediocre existence in the process.

Adrift in suburban Sacramento and surrounded by cheerfully complacent “beta males”, a father/son trip to Boston to look at universities only serves to reinforce these internal inadequacies; Troy, a talented pianist, has a shot at getting into Harvard, a college that outstrips Brad’s own education across town at Tufts. Is that pride, Brad feels, or jealousy?

Written and directed by Mike White, Brad’s Status aligns itself with a familiar feeling deep inside all of us; the competition we feel with our peers and the desire for something greater. A lot of this concern is voiced internally by Stiller as he tosses and turns at night or stares out of a plane window. White’s film spends a lot of its time inside Stiller’s head, partaking in lengthy monologues about paths not taken or grudges left unaddressed.

As a result, Stiller is lumped with a lot of the lifting, as he furrows his brow and shifts in his seat, searching internally for some shred of solace. It’s an impressive performance amongst a collection of impressive performances; his meandering unspoken reveries work in opposition with the concise musings that are said aloud as well as the sulky grunts offered up by his son.

White’s writing is effective (if a little on-the-nose) but the cast make it work, taking the heightened divide between Brad and those he yearns to replicate and running with it. Particularly impressive is Abrams, who manages a level of angst and wisdom only a teenager can muster, and Sheen, as a charismatic contemporary man who has hit it big in Hollywood and married well.

The pacing is suitably slow for a film all about feeling adrift and aimless, but not so much that it lacks drive or structure. In keeping with its themes, Brad’s Status doesn’t offer a rousing finale or a gutful of catharsis; viewers will need to go in search of significance and satisfaction, rather than have it dumped at their feet in the third act. It’s an apt ending, but not one that all will find enjoyable.

Meditative and introspective, Brad’s Status is an exhaustive and achingly honest exploration of anxiety and self-doubt. While it may feel a little familiar, there is joy to be found in its wry humour.

 

Brad’s Status is available in Australian cinemas from November 9.

Image courtesy of Roadshow Films 2017.

Movie Review – Detroit

With Detroit, Kathryn Bigelow once again commands us to examine ourselves and the atrocities we claim to have overcome.

⭐ ⭐ ⭐ ⭐  ½
Zachary Cruz-Tan 

Detroit is an examination of prejudice. It is set in the 1960s during a period of riotous relations between blacks and whites, but refuses to address the roots of the problem. Instead it shifts the focus of racism to the system, to a biased judicial court that ultimately trickled droplets of hatred down to its law enforcement. It is well known how aggressive the Detroit police department was. Fuelled by misguided moral righteousness, groups of cops became dangerous. This is a confronting film, as all films that require us to look inward are.

At the centre of Detroit are two young men; one black, one white. One an aspiring Motown singer, the other an enthusiastic beat cop. Both men are brought together by a silly prank that goes wrong, in what turns out to be an evening of endless police brutality and torture driven by racism, superiority and retribution.

These scenes, that take place at the Algiers Motel, dominate the middle hour or so of the film, and are specifically designed to test our comfort levels as the cop, Philip Krauss (Will Poulter), leads his partners on a repulsive interrogation crusade to determine the prankster who opened fire on the National Guard patrolling the streets a few minutes before. I can call it “repulsive” because I know what the cops did that night was wrong. The dangerous thing is that Philip knows it’s wrong too, but enjoys his position of power too much to let it become an issue. Like the Nazis, if he believed what he was doing was right, why try to cover it up?

Eventually the night goes south, which leads to a court trial. Here is where director Kathryn Bigelow broadens the story by putting the entire judicial system on the stand. The jury is all white. The judge is white. The lawyers are white. White men are being convicted and the only witnesses are black men and white women, neither of whom has any civil power. The key to Detroit is the framing that not every white person in 1960s America was racist, but the many who were crippled everything the US constitution stood for.

Bigelow films her movie like a hybrid between drama and documentary. Snippets of actual footage is occasionally spliced into interludes, and much of Barry Ackroyd’s camerawork is handheld and reasonably shaky. The result is not unlike Christopher Nolan’s Dunkirk, in which the viewer is pulled right into the world of the filmmaker and is forced to confront horrific events without the option to look away.

Among the other players is John Boyega’s security guard Melvin, who delivers peace offerings while his fellow man is beaten into submission, and finds himself at the wrong place at the wrong time, torn between loyalty and self-preservation. Hannah Murray and Kaitlyn Dever play the two white female witnesses who don’t see colour, believe in fair treatment but are still harassed for fraternising with the enemy.

I have not said much about Larry (Algee Smith), the young Motown singer. He was present at the Algiers Motel, is a central figure, but doesn’t contribute heavily to the fabric of the plot. He is instead a controversial and lamentable reminder that not every black man in the ‘60s wanted revolution. Some just wanted to turn a blind eye, sing in the church choir and survive. Seriously, though, who could blame them?

 

Detroit is available in Australian cinemas from November 9.

Image courtesy of Entertainment One Films 2017.

 

 

Movie Review – A Bad Moms Christmas

Christmas will soon be upon us and along with it a new batch of seasonal films for the whole family – or sometimes just for the adults. A Bad Moms Christmas offers a variety of crudity and vile humor that aims to be as gross as it does shocking. If only any of it was remotely funny.


Josip Knezevic

Mila Kunis, Kristen Bell and Kathryn Hahn reprise their roles from the first Bad Moms (yes I can’t believe they made a sequel as well), but this time they’re met with their equally bad counterparts – their own mums. It seems like this will be the trend for this year’s Christmas movies, with the upcoming Daddy’s Home 2 set to do much of the same thing, just with the opposite sex.

A Bad Moms Christmas seems to take the most basic form of monkey humour but branches it out to a platform that we haven’t seen before; motherhood. We don’t expect mums to be seen in such a light and that’s what’s meant to make it funny. It was the same reason Bad Santa was so popular but making something original doesn’t necessarily make it automatically hilarious. A bad joke is a bad joke, no matter how you polish it, and this is ultimately where the Bad Moms franchise is lacking.

Dialogue about penises or vaginal waxing feel only thrown in as an attempt to gather up laughs from shock value. Reactions of “oh my god I can’t believe a mum just said that, she’s not supposed to say that hahaha” are heavily relied upon throughout, but this doesn’t make the jokes genuinely hilarious. Soon enough, this whole routine becomes just tiresome. When humour that isn’t based off vulgarity does arrive, they’re mostly predictable from moments ahead of time or are simply yet another eye roller. This coming from a man who loves dad jokes. But maybe not just of the bad mum’s kind.

Aside from the humour, the overall plot follows a formulaic affair that, whilst touching on some heartfelt moments, isn’t anything special enough to be considered good. Not only have you seen the same moments in other Christmas films but they’re executed so much better elsewhere. And I’m not just talking about the classic Christmas flicks of Home Alone and The Santa Clause; Bad Santa manages to become a better antihero to enjoy on-screen. This is because his character is as believable as he is heartbroken and funny. He’s a nice balance between the bad that we can laugh at and the good that we ultimately sympathise with.

None of these aspects are found in A Bad Moms Christmas. What we are left with is another poor excuse for a chick flick that represents another missed opportunity for a genre that continues to add cheesy Christmas movie after cheesy Christmas movie. In a time where focus on women empowerment is at the forefront of so many films this year, A Bad Moms Christmas is a failure for many of those powerful leading examples and for women in general. Mums do amazing things for us and unfortunately, in this case, they deserve better.

A Bad Moms Christmas is available in Australian cinemas from November 2.

Image courtesy of Roadshow Films 2017

Movie Review – Three Summers

Three Summers is determined to bring a sunny disposition to the thorniest of political topics.

⭐ ⭐ ⭐ ½
Michael Philp

Let’s get this out of the way quick-smart: for some people, Three Summers will not be an easy film. It should be – it’s a comedy, after all – but it’s also an unreservedly left-wing perspective on Australia that will rub certain people up the wrong way. It wears its politics on its sleeve in almost every scene, and you’ll either laugh along with it or get frustrated when it (regularly) dismisses conservative opinions. In other words, it’s a Ben Elton film.

Written and directed by Elton, Three Summers is a film about Australia and its stories. Accordingly, it follows a variety of groups at the fictional Westival music festival. There’s the feisty Warrikins (Rebecca Breeds, John Waters); Roland the Theremin player (Robert Sheehan); the Morris dancers led by Michael Caton; Queenie the relentlessly sunny radio announcer (Magda Szubanski); and about half a dozen other plotlines, all converging on the same campgrounds over three years.

It’s impressive just how well Elton manages to juggle it all. Considering the number of ideas he’s throwing around, it would’ve been easy for the film to descend into a preachy soup. Instead, thanks to the extended timespan, there’s always a fresh joke around the corner. Revisiting these characters over multiple years affords us the chance to watch them grow and adjust naturally. A punk band dwindles, an AA meeting grows, and certain events challenge the community dynamic in surprising ways. Through it all, a warmly empathetic optimism brings the disparate groups together.

That optimism is what ultimately ties the film together. Elton himself has made it clear that he wanted to make a nice film – something lovely and warm – and that ethos shines through. Even when the film is confronting Australia’s thorniest conversations – the refugee crisis, Aboriginal marginalisation – it remains upbeat and acknowledges them as decipherable problems. They aren’t just rocks and hard places, they are people, and people deserve love and respect.

With so many stories it’s also inevitable that some of them won’t get the time they deserve. Aboriginal marginalisation, for instance, is a complex topic that is ill-suited to a comedy that can’t focus on it. One of the children wears an ankle-monitor which is played for a single laugh but never properly addressed. That’s practically the definition of lip-service, and it’s not the only instance of it. Elton is sincere in his desire to confront difficult issues, and his attempts are at least commendable, but the problems are also much bigger than he can manage in an already busy film.

Conservatives will bristle, but lefties will laugh at the shenanigans in Three Summers. It’s not a perfect film – Elton would do well to narrow his scope next time – but it’s genuine where it counts. It’s a kind-hearted comedy with some wonderful performances (Szubanski is just lovely) and a gorgeously Australian setting. It’s the perfect film for an outdoor screening on a warm summer’s eve so expect it to remain a mainstay of those events for years to come.

 

Three Summers is available in Australian cinemas from November 2.

Image courtesy of Transmission Films 2017

 

Movie Review – Jigsaw

Despite dying all the way back in Saw III, Jigsaw is back for an eighth twisted and gruesome game after a lengthy absence.

⭐ ⭐ ⭐
Corey Hogan

More than a decade has passed since John Kramer, a.k.a. the Jigsaw Killer (Tobin Bell) – the man notorious for kidnapping people and putting them in traps that force them to mutilate themselves to escape death as a means of creating a newfound appreciation for life – and his circle of successors all met grisly ends. The violence has ceased, until now; as police shoot down a petty thug, a triggering mechanism is activated and sets in motion a new game played by five people trapped in a remote barn filled with diabolically lethal things at every turn. Mangled bodies start turning up, and as the investigative team, including Detective Halloran (Callum Keith Rennie) and forensic doctors Logan Nelson (Matt Passmore) and Eleanor Bonneville (Hannah Emily Anderson) dig deeper, all the evidence points to the late Jigsaw as the perpetrator.

It wasn’t too much of a stretch to predict that 2010’s Saw 3D was never going to be The Final Chapter as it claimed; nothing in Hollywood, especially in the horror genre (and especially one of the horror genre’s highest-grossing franchises) ever stays dead anymore, so by that logic Jigsaw was always inevitable. The good news is that its source is one of the genre’s most inventive, if not for the faint of heart series, and despite it having narratively driven itself into a dead end, this belated eighth entry manages to breathe a bit of new life into its corpse, doing its many fans justice and pulling off a few neat tricks of its own.

Taking the reins from its Australian creators James Wan and Leigh Whannell (who remain as producers) is, appropriately, another Aussie horror filmmaking duo, The Spierig Brothers (Daybreakers, Predestination). Their biggest adjustment to proceedings is the visual style – gone is the grainy, low-grade camerawork, grungy bathrooms and rust as far as the eye can see, updated with slick cinematography and, for the first time, shiny and new-looking killing instruments. The Spierigs are aware that audience expectations have changed since Saw last soaked our screens in blood, and so the story deviates from the usual formula too; we follow the police investigation equally as much as the victims of the latest game, veering slightly away from the torture-porn trappings that later entries became and closer to the psychological thrills of the first film.

Which is not to say that Jigsaw isn’t gory; there are new traps here that rank up there with the series’ stomach-churning best, from the body-shredding spiral blade contraption to the flesh-cutting laser collars – fans can rest easy with the amount of blood and guts spilled. Pleasingly, after being sidelined for so long, the iconic Jigsaw himself takes centre stage once again, with the mystery of how exactly he has returned forming the core of the plot. Bell still dominates in his signature role, and the story that once again explores his backstory alongside his legacy makes a franchise that felt all out of places to go feel like it actually has plenty of fresh directions to take us in.

Updates aside, this is still quintessentially Saw, which does mean it shares the series problems too; most of which usually boil down to its writing. Though tricksy, it’s always relied on quite a large suspension of disbelief given the huge coincidences that cause everything to fall into place just right and push each plot point into place, and Jigsaw is no different. Again, the twist ending is awfully contrived and frankly ridiculous if you put even a smidgen of thought into it.

But though it doesn’t quite reach the franchise high point, Jigsaw surpasses a good portion of the sequels and exceeds expectations; though it won’t win Saw many new fans, and its potential as a series reboot remains to be seen, this is an interesting and satisfying enough long-awaited follow-up.

Jigsaw is available in Australian cinemas from November 02

 Image courtesy of Studio Canal Australia 2017

Movie Review – Suburbicon

George Clooney and the Coen Brothers are rockin’ the suburbs in this dark and twisted comedy.

⭐ ⭐
Rhys Graeme-Drury

From prim and proper lawns to white picket fences and pastel pinafores, George Clooney’s Suburbicon is drenched in a sugary coating of classic Americana. Like a surreal waking nightmare akin to Tim Burton’s Edward Scissorhands, this original script penned by Joel and Ethan Coen strips back its glossy sheen to reveal a grisly underbelly of crime, prejudice and deception with wildly mixed results.

Matt Damon plays Gardner, a meek middle management man whose life is thrown into chaos when two burglars break into his sleepy suburban home. His wife (Julianne Moore) and son (Noah Jupe) are caught in the middle of the melee. Meanwhile, next-door, new arrivals in the neighbourhood are ruffling some local feathers and perceived as a threat to the idyllic community.

The glossy cinematography and eccentric 1950s visual design is at least nice to look at in a heightened, hyperreal sense; a cute opening which acts as an advert for the homogenised community sets the tone before the cheeky kinkiness of Damon and Moore’s relationship reveals the true nature of this repressed fantasy. Suburbicon at least succeeds in accurately capturing its setting; it’s the haphazard narrative which causes this star-studded affair to misfire, as it struggles to effectively populate the film with something for audiences to latch onto.

With two vastly different ideas smashed into one, it should come as no surprise that Clooney’s sixth film as director is a mess. On the one side you have a darkly humorous take on the home invasion genre with the Coen Brothers lending their prodigious talent to the script; on the other you have Clooney and frequent collaborator Grant Heslov exploring race relations in 1950s America, also with a surreal and satirical spin.

While both are interesting ideas in their own right, they don’t mesh very well when stacked next to one another. Tonally, Suburbicon is just all over the shop. Is it a serious recount of true events that deals with racism or a twisted murder mystery dripping with sticky murders and chain-smoking gangsters? Pick a lane, Clooney.

The former is certainly apt given the identity crisis currently unfolding across America (Clooney makes a point to have his antagonists unfurl a Confederate flag, hammering home his stance on the matter) and the latter is a gleeful noir that feels at home alongside other Coen Brothers joints like Fargo and Burn After Reading. On their own, it would work; mixed together, it never gels.

It doesn’t help that none of the characters save for one or two minor players are actually likeable; Damon plays a dickbag who deserves all the pain and suffering he gets while Moore is lumped with an odd dual role that dissolves into a quietly psychotic and hysterical housewife. Oscar Isaac’s fleeting contribution adds a certain spark to proceedings, thickening the plot and bringing some crucial laughs. Other than that, it’s slim pickings.

Without a coherent through-line to tie it together, Suburbicon fails to deliver on its initial promise. The dark comedy is hit and miss, the disjointed to and fro of the screenplay never settles on a tone and its talented cast – save for Isaac – is sleepwalking through the swirl of half-baked ideas. Definitely one to skip.

Suburbicon is available in Australian cinemas from October 26 

Image courtesy of Road Show Films 2017