The Neil Armstrong biopic First Man is a film of contrasts where the vast emptiness of the moon is juxtaposed with Armstrong’s cramped conditions on Apollo 11, the methodical precision of the space missions sits alongside the emotional upheaval felt by the astronauts’ families, and Armstrong’s stoic outward appearance masks his inner grief. The attention to detail and factual information is balanced perfectly with the film’s more soulful moments, resulting in a glorious blend of drama and sensory spectacle.
Bad Times at the El Royale contains one of my favourite scenarios where a group of strangers filled with secrets converge at a single location and things get increasingly out of control. This felt like a glorious throwback to the mid-1990s where clever, violent and funny genre films were a staple of the American indie scene. However, it doesn’t feel like a homage nor does the narrative dexterity slide into self-awareness or smugness. Instead, the terrific performances and smart filmmaking make it refreshing and fun.
Similar to the versions that have come before it over the previous decades, the new adaptation of A Star Is Born explores the nature of show-business, fame, addiction and self-expression through a dramatic romance story. The power of this new version comes from both how electrifyingly the musical performances are filmed and the incredible dynamic between its two lead characters, one on the decline and one on the ascent. The result is a thoughtful and empathetic film that is enormously engaging and moving.
The latest Halloween film operates as a direct sequel to the original 1978 film (bypassing all previous sequels and remakes) both in terms of picking up the story 40 years later and by brilliantly adopting the same style as John Carpenter’s hugely influential slasher classic. The focus is on establishing characters and then using lighting, framing and camera movements to beautifully build tension to gleefully unbearable levels in order to take the audience on a rollercoaster ride of suspense-based horror.
Gently unfolding over one day, Wajib follows a Palestinian father and son (played by a real-life father and son) as they drive around Nazareth, Israel, handing out wedding invitations. Through their conversations while alone with each other and while visiting various family and friends, filmmaker Annemarie Jacir explores generational, class and cultural divides with humour, sensitivity and nuance making the film a very accessible insight into some of the complex political tensions in contemporary Israel.
Westwood: Punk, Icon, Activist is an energetic documentary about fashion designer Vivien Westwood, celebrating her as trailblazer. There is some great analysis of the punk era and her role in defining the punk look, the focus on her hands-on approach to designing and making clothes brings the process to life, and her reluctance as an interviewee becomes part of the film’s charm. More a reflection of her life and beliefs than a comprehensive biopic, this is a triumphant film about an extraordinary person.
Thomas Caldwell, 2018