Spencer TIFF Review
The Plot
Set in 1991 this historical fiction turns Princess Diana’s existential crisis over her potential divorce from Prince Charles into a psychological drama. Set over a tense holiday period in confines of the Queen’s Sandringham estate the film explores the suffocating claustrophobia of Dian’s Royal life during the tumultuous dying stages of her infamously doomed marriage to the future king of England.
The Good
Twilight star Kristen Stewart has worked hard to shed the reluctant mantel of Hollywood Starlet by focusing almost exclusively on serious dramatic work in low budget dramas. That path has led her to the opportunity to play one of the most iconic women of the 20th Century on screen in a credible project from an accomplished screenwriter and director. Stewart earnestly seizes the opportunity, physical and vocally transforming herself into the iconic Diana to an extent that will almost certainly see her attracting numerous awards nominations.
Beneath a mop of Blonde hair and armed with a mostly convincing British accent, Stewart does her very best to do justice to the role and transform Princess Diana’s supposed ‘darkest days’ into an arresting descent into mental turmoil and an ultimately cathartic emergence.
For those that are addicted to the real life and fictitious royal drama this will be another sumptuously set slice of familiar storytelling. Likewise younger generations perhaps lured in by Stewart’s appeal will find the sombre events of this royal era conveniently reimagined as a suitably gripping and overtly symbolic psychological drama.
The Bad
Between Netflix’s onging series The Crown and several other biographical films of vastly varying quality the absurdly well publicised and infamous personal struggles of Diana Princess of Wales have already been painstakingly examined and laid fully bare for audiences on numerous occasions. So however well-intentioned or written any fresh ‘take’ on this well-known and ultimately tragic public figure is, there will always be difficult questions for it to answer about how respectful or necessary it is to regurgitate relatively recent history on screen.
It certainly doesn’t hold any educative value as Diana herself was overly open about every intimate detail of her own life. So at best any ‘new storytelling’ can only really serve as crowd pleasing entertainment. Unfortunately as with all ‘fictionalised’ historical dramas there’s a very real risk that this ultimately serves to entrench historical inaccuracies and rewrite the innermost lives of public figures in a more crowd-pleasing and dramatic way.
At times it’s perhaps difficult for audiences to connect the coldly cruel and elitist pantomime villains the British Royal family are so often portrayed as, with the increasingly geriatric and seemingly docile reality. Likewise this film’s subplots about Diana feeling herself haunted by the ghost of Anne Boleyn, a contentious pheasant hunt and an intensely dependent friendship with a fictions royal dresser largely feels like clumsy and convenient shorthand.
Overall despite seemingly well intentioned performances from Stewart and a strong supporting cast there’s plenty of grounds to accuse the film of exploiting poetic licence too much in transforming Diana’s ‘imagined’ private life into a well-dressed royal soap opera.
Even if supposedly merely symbolic, the film’s brazen choice to portray Diana as suffering from hallucinatory and suicidal mental turmoil before emerging into a rose tinted escape as a KFC munching people’s princess and newly empowered mother/woman raises some difficult questions
The Ugly Truth
Spencer is a suitable star vehicle for Kristen Stewart that mostly re-treads and questionably reimagines relatively recent and overly familiar Royal history. Those addicted to The Crown will certainly be compellingly intrigued by this more anguished and sensationalised exploration of Diana. While others will inevitably feel that yet another dramatization of the ‘fictional’ private life of one of the most famous and overly publicised women of the 20th Century is largely unnecessary and perhaps even unwelcome.
The Worst Person In The Wold TIFF Review
The Plot
The third film in director Joachim Trier’s ‘Oslo Trilogy’ follows a young Medical Student Julie on a journey torn between a relationship with a significantly older comic artist and a young barista she bonds with following a chance encounter.
The Good
Joachim Trier’s acclaimed storytelling reaches a compelling climax with this black comedy that bears all the hallmarks of rapidly becoming an instant classic. Fiercely subverting the longstanding and increasingly tired romantic tropes the film is imbued with a rich lyrical charm and raw quality that is by now utterly lacking in the overly sanitised and saccharine offerings of cheerful but blandly formulaic Hollywood romantic comedies.
Leading actress Renate Reinsve launches herself towards assured stardom with a performance that has already deservedly seen her collect top acting honours at the Cannes Film Festival where the film itself was rewarded with the Palme d’Or. Reinsve’s performance as Julie is both nuanced and compelling. Her character grapples with the poignant existential struggles of desire, aging and the daunting prospect of defining herself and her relationships.
Centred around Reinsve’s grounded and authentic emotional portrayal the film is able at times to indulge in truly joyous flights of fantasy. One hallucinogenic sequence in particular lurches towards surreal horror, whilst another breathtakingly captures the adrenalin fuelled passion of new attraction in a city that is otherwise reduced to an absolutely literal standstill. It’s an unforgettable and poetic metaphor packed into a film which consistently delivers evocative emotional truths.
The film’s darker and bittersweet tone also provides an edge and melancholic depth to the story that goes beyond the usual simple catharsis of celebrating great love by proxy in more typical romantic comedies. It’s an exceptional example of storytelling that speaks to universal truths that are by turns inspiring and unavoidably painful.
The Bad
Despite the film’s many undeniably well-crafted qualities it remains true that for those seeking the simple feel good escape of a relentlessly cheerful romantic comedy this film may be a little too close to reality to meet their needs.
Though some will identify more directly with the existential melancholy and malaise this story offers, for those that don’t it might at times be a slightly unwelcome reminder of those apparent real world anxieties.
In pursuing a more authentic exploration of the bittersweet realities of romance the film knowingly sacrifices some of the emotional sugar rush provided by romantic dramas that merely conveniently sweep past these messy layers of tragedy and lingering confusion.
The Ugly Truth
Fully deserving of the it has already amassed The Worst Person In The World is a rare gift of a film that demonstrates the true strength of international cinema that exists beyond the starch confines of lazy Hollywood blockbusters and cliché ridden genre cinema. Visually unforgettable, charming and emotionally charged this is effective and essential storytelling at its’ finest.
The Electrical Life of Louis Wain TIFF Review
The Plot
A biopic of titular eccentric Edwardian artist Louis Wain, who became unexpectedly famous for his adorable cat illustrations, whilst also struggling with the burdens of tragic loss, depression, family responsibilities and financial woes.
The Good
Benedict Cumberbatch’s ardent fanbase gets to enjoy another quirky performance from the much beloved actor, providing a look at a mostly forgotten artist with a special appeal for feline lovers. Those familiar with Wain’s work will at least be pleased to see much of the same brightly coloured and unapologetically twee whimsy packed onto screen.
Throughout the film there are also occasional flashes of talent in truly poignant moments that shine through, particularly between Cumberbatch and Claire Foy as Wain’s terminally ill wife. The authentic love and affection between them is one of the perhaps few tangible qualities the film possesses. It’s a genuine journey of loss that carries emotional weight in spite of the film’s wider struggles to refine its’ overly eccentric tone and muddled messages.
The Bad
Drolly narrated and frequently overwhelmed by an overabundance of heavy handed quirkiness this is a film that frantically struggles to charm audiences with oversaturated but mostly hollow visual charms.
It’s a sometimes perplexing mess of mixed intentions too as the film seemingly struggles to reconcile precisely whether it intends to celebrate Wain’s singular artistic achievement of cute cat drawings as legitimately vital artwork or merely to instead lament that this is tragically the only expression the world knew of his apparent artistic gifts. The seemingly insurmountable burden for the film is that it’s difficult to either take Wain’s mawkish feline images seriously or to somehow reimagine him as some kind of overlooked genius based upon very little else.
Benedict Cumberbatch playing the titular Wain don’s a comically flamboyant moustache and once again seemingly slips into increasingly familiar ‘neurodivergent’ mode. Unfortunately having already famously tread this territory with both Sherlock and The Imitation Game, this third time is sadly not a charm. Like the film as a whole Cumberbatch’s performance is well intentioned but often lost amongst a clumsy bustle of quirks and exaggerated eccentricity.
Perhaps the most awkward challenge for Cumberbatch is that Wain’s elaborately affected mannerisms are neither played for unashamedly silly comedic effect nor enough on their own to somehow transform Wain into a significant artistic figure beyond his singular embarrassingly kitsch achievement. It’s sadly impossible to avoid the impression that the film is by default suggesting that Wain should somehow be celebrated merely because he had a somewhat lively and ‘unusual’ personality, beyond the fact he drew some popularly cute cartoon cats.
The Ugly Truth
As an artistic biopic this is a film that struggles to adequately explain why Louis Wain’s fleeting fame for drawing mawkish feline doodles deserves to be either celebrated or instead lamented. Efforts to overwhelm audiences with a barrage of quirkiness never succeeds in distracting from that awkward question. Wain’s insubstantial artistic achievements leave Benedict Cumberbatch’s elaborately moustached and ‘whimsical’ performance feeling even more awkward at times.
The Score TIFF review
The Plot
Two small time crooks drive to a remote location waiting for a big ‘score’ and pass the time by awkwardly interacting with the sparse customers and staff of a small café. But the longer they wait for their mysterious meeting the more complicated and tense their situation becomes.
The Good
Will Poulter continues to emerge as a truly magnificent and deeply likeable talent. Having well established a firm fanbase with his excellent big screen and television work he continues to inject an affable charisma into all his performances. In The Score an increasingly rugged Poulter provides the heart and humour of the film through his performance as Troy, a kind hearted and hapless reluctant hoodlum. The comical contrast and exchanges between him and his older far more abrasively menacing partner in crime are the firm driving force behind the films story.
Alongside Poulter, Johhny Flynn provides a convincingly antagonistic presence as Mike, Troy’s bullying and quite possibly dangerous criminal compatriot. Their sparring conversations lurch from absurdly comedic to genuinely tense throughout the film providing modest charm and intrigue.
Naomi Ackie likewise works well with Poulter to give the film some awkwardly simmering romantic chemistry, playing the café’s feisty barista Gloria. Her clashes with Flynn’s caustic Mike and unlikely chemistry with Poluter’s well intentioned thug Troy sets up odd and evolving dynamics that ultimately propel he film towards a vigorous finale.
The cast are also clearly enthusiastic and uninhibited about the film’s frequent musical demands, very obviously doing their best to inject subtle meaning and soft spoken melody into their singing. It’s to their credit, especially Poulter’s, that they manage to maintain a sense of momentum and reality despite the film’s whimsical eccentricities and constantly shifting tone.
The Bad
While musicals certainly attract a massive fanbase The Score is a strange breed of hybrid between a sluggishly paced indie drama and the more flamboyant musical genre. This unexpected mashup occasionally works well, but often seems to slow the pace of the film even further as characters interrupt normal scenes with lengthy musical mumblings. The almost complete lack of choreography and oddly passive nature of character’s entirely self-contained singing make the films musical qualities often feel somewhat unnecessary. Merely serving to mostly distract from an otherwise interesting conventional drama.
Though the film moves toward an ultimately interesting climax the film is a slow burn that pads a relatively simple story with its lengthy musical refrains. While some might feel it gives the film a unique personality and a literally lyrical quality, it’s certainly a devisees experiment. The understated performances and largely muted singing voices of the cast further adds to a slightly awkward school play feel every time a character breaks off into their own detached musical monologue.
The Ugly Truth
A talented cast and the novelty factor of the film’s quirky musical offerings makes The Score a watchable but likely divisive experience. Some will consider the film a memorable oddity while other audiences may find themselves less charmed by the films slow paced and unnecessary musical refrains.
Spring Blossom Review TIFF 2020
The Plot
A 16 year old girl bored with her school routine and people her own age discovers a fierce infatuation with an older actor performing at a local theatre. That inquisitive interest soon grows into an actual relationship, giving her the more daunting and authentically adult experiences she craves. Ultimately forcing her to confront whether or not she is truly ready to leave her childhood behind.
The Good
Suzanne Lindon directs and stars in a coming of age drama she apparently scripted when she was only 15 years old. This alone immediately distinguishes the film from countless other films that deal with the fledgling love affairs of teenage girls aching to discovering something beyond the narrow confines of high school and more childish pursuits.
It’s typical for these kinds of genre films to paint their female protagonists either as innocent victims of manipulative adult desire, or alternatively as rampantly sexually teenage temptresses. It’s at least refreshing that Spring Blossom avoids these stereotypes, presenting its young heroine as a relatively normal girl on the cusp of womanhood. It’s arguably a more authentic if mundane depiction of the excitement generated by someone’s first forays into the daunting world of adult emotions.
Though the film lacks tear stained melodrama it does deliver repeatedly joyful and sweet natured musical moments. It’s enduring watching Suzanne dance down the street in celebration at learning that her affections are in fact reciprocated. Indeed as her relationship with the 35 year old actor she befriends moves forward it is played out mostly through similarly shared moments of dancing to elegant melodies. It provides the majority of the film’s romantic spirit in contrast to their mostly awkward and banal conversational exchanges.
The Bad
First love and the tensions caused by a typical adolescent impatience to grow up are both often the subject matter of sensuous and richly emotional filmmaking. Unfortunately this film is at times lacking in the authentic drama and depth that distinguishes the better versions of this overly familiar coming of age tale. Lindon’s script is a little too languid and uneventful to capture the painful lessons that first loves usually end up teaching us.
Devoid of furious family drama, passionate sexual exploration or cruel life lessons the film doesn’t feel all that visceral or important. This particular age gap romance is mostly populated by banal breakfast conversation and random dance sequences. It’s a light and mostly pretty portrait of a fairly restrained love affair, but also entirely unremarkable.
Writer, director and star Suzanne Lindon penne the script when she was just 15, lending it a certain authenticity at least. But while sharing coffee and polite conversation with an adult can be an electrifying experience for an actual teenager, that doesn’t translate to screen for a more mature audience. Viewed from an adult perspective and without any particularly vivid insights, it appears more trivial than tantalising.
The fact that the film can barely sustain a running time a little beyond an hour perhaps gives some indication of how little the film ultimately has to say.
The Ugly Truth
Spring Blossom is an easy watch and a serves as a pleasant stroll through familiar coming of age tropes. Frequent musical interludes give a little extra elegance to a very simple tale otherwise mostly lacking in drama. The film is light and pretty as intended, but also unremarkable.
Review by Russell Nelson