Film Reviews | Local Respite and Arthouse Oxygen After These Bloody Blockbusters

I’ve waited for the reviews to form a satisfyingly diverse cluster before putting this together, as it’s been an interesting couple of months at the movies. But here they are; some of my recent pieces of film criticism for MaltaToday, liberally cherry-picked and in no particular order.

Which is, of course, a total lie. Cherry-picking implies selection, and selection implies intention, which implies order of some kind.

In this case, we’ve see a few glittering diamonds in the rough just about rising up for air in an atmosphere suffused by entertaining, but equally suffocating, blockbuster fare.

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The Inevitable Epic: Avengers – Endgame 

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“Though an epic send-off may have felt like a foregone conclusion Marvel Studio’s unprecedentedly long-running superhero saga, the mammoth achievement that’s ensued is certainly no casual fluke. Carefully calibrated to give each character and sub-plot their due while never short-changing its emotional content, Avengers: Endgame gives itself the licence of sizeable running time to tell a story that is part dirge, part mind-bending time travelling heist and part meditation on friendship and power. The cinematic landscape may have been changed by these colourfully-clad supermen and women in debatable ways, but the byzantine byways of its interconnected stories clicking so satisfyingly together is certainly no mean feat.”

Click here to read the full review

Note: Check out a more ambitious, expansive and crazier foray into superhero-media criticism in this article, which I was graciously invited to pen for Isles of the Left

The Vicious Familiar: Us 

Us

“More ambitious and tighter than his barnstorming Get Out in equal measure, Jordan Peele’s second stab at film-making may have some rips at its seams, but in the long run makes for a thrilling feature with something to say. Satisfyingly structured and laced with nuggets of ambiguity that will burrow through the brain, it’s offers a full-bodied experience of genre cinema that feels sorely needed in a landscape oversaturated with superheroes and remakes.”

Click here to read the full review

Third Time Bloody: John Wick: Chapter 3 – Parabellum

Keanu Reeves stars as 'John Wick' in JOHN WICK: CHAPTER 3 - PARABELLUM.

“Expanding on its world with a tightly-focused and clever simplicity that allows more than ample room for its trademark bloodbath-balletics to shine through, the third installment of the little action franchise that could continues to plough its way through the competition with violent, witty elan. A satisfying ride from start to finish, Reeves and Stahelski’s baby has grown up and taken the world by storm, while betraying zero signs of franchise fatigue so far.”

Click here to read the full review

Local Flavour: Limestone Cowboy

Limestone Cowboy

“Though lacking polish in certain areas and never quite managing to resist the temptation to stuff every frame with ‘local colour’, Limestone Cowboy remains an engaging and effective dramedy that successfully alchemises quirky Maltese mores into a feature of universal appeal.”

Click here to read the full review

Too Good For This World: Happy As Lazzaro

Happy As Lazzaro

“While offering an unflinching and deeply upsetting gaze into the unequal power structures of capitalism both past and present, Happy as Lazzaro also manages to be a rich and rewarding fable, limned with a magical glow that keeps cynicism and hopelessness at bay. Mixing in a team of first-time actors and non-professionals with established names, Alice Rohrwacher creates something of a minor miracle, which is likely to remain resonant for years to come.”

Click here to read the full review

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Coming up: Reviews of Vox Lux (dir. Brady Corbet) and Beats (dir. Brian Welsh). Check out my Facebook, Twitter and Instagram avatars for updates on reviews and other projects

 

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Easter Gothic | BILA, Camilla, Inheritance

Easter is approaching on this once-aggressively Catholic island, which is only marginally less so nowadays, as this snap I took a couple of days back gloriously, dramatically illustrates:

gudja

Easter of course also means spring in full swing, and the twisty turny weather that it brings with it has left me feeling a bit ‘off’ on a few days here and there, where drowsiness becomes the order of the day and where you feel abandoned to the mercy of the uncontrollable climate-gods and their whims — they are in you, controlling your moods and there’s not much you can do about it. Both humbling and annoying in equal measure, but I also know it’s nowhere near the deluge that is the summer-swelter juggernaut, for which I am subconsciously preparing with no small amount of trepidation.

But come rain on shine, my penchant for the cooling moods of Gothic melodrama will remain unquelled, and it’s not just the above photo that stands as proof of this. Recently, the punk-metal band BILA (no, they’re not all that sure about their genre-configuration either — I asked) got me on board to participate in the music video for their song ‘Belliegha’, in which I was tasked to play a folk monster by the video’s director, Franco Rizzo.

The no-budget, three-day shoot ended up blossoming into a glorious display of pulpy goodness, and it was about as fun to shoot as it is to look at, I reckon. You can check out the whole thing here. For those of you on the island and keen to hear more, BILA will be performing at Rock the South on April 14.

The Belliegha’s aesthetic certainly lies on the (deliberately) crummier side of what I’ve just been talking about, but we also had a chance to once again showcase our more elegant attempt at the Mediterranean Gothic during past couple of weeks, as the National Book Council invited co-writer/director, producer Martin Bonnici and myself to speak about our short film ‘Camilla’ at the Campus Book Festival.

camilla campus book fest

Flanked by Martin Bonnici (left) and Stephanie Sant (right) at the Campus Book Festival, University of Malta, March 29, 2019. Photo by Virginia Monteforte

The event was focused on adaptation, translation and subtitling, and to this end we were thankfully joined by Dr Giselle Spiteri Miggiani from the translation department, and someone with tangible experience of subtitling for television and cinema.

Despite having premiered back in November, it feels as though ‘Camilla’s journey into the world is only just beginning. Some encouraging feedback and an overall sense of enduring satisfaction with the work as a whole — bolstered by the memory of just how smooth a project it was to put together — leaves me with a decidedly un-Gothy optimism about its future.

But true to the spirit of fertility, resurrection and renewal that also characterises this season and its many associated festivals, there’s another bun in the oven that appears to be just about ready for consumption.

inheritance

After some five-odd years of rumination, regurgitation and tinkering, the fifth draft of a horror feature I’ve been working on under the auspices of the aforementioned Martin Bonnici appears to be production-ready.

Of course any number of things can happen in the run up to finally getting this thing filmed, but I can’t help but let out an extended sigh of relief at finally finishing a draft of ‘Inheritance’ that’s about as smooth as I’d like it to be — with the required suspension of disbelief being dialed down to a minimum, the dialogue as lived-in as it’s ever been, and the narrative beats aligned to both character motivation and the story’s thematic underbelly.

I’ll have to keep mum on details for the time being, not least because a jinx at this stage of the film’s evolution would be particularly heartbreaking. Suffice it to say that the project marks the fulfilment of a vow made back in 2014, on national media. A vow to make the Maltese cinematic space just that little bit punkier and weirder.

This all feels like good juju, since summer is approaching. And carving out a pretty alcove of darkness feels like just the thing. Take it away, Banshees…

banshees

The politics of fantasy and the radical power of love | Antonio Piazza on Sicilian Ghost Story

One of the best things to emerge out of my admittedly truncated run with an MA in Film Studies at my alma mater was being introduced to filmmakers Antonio Piazza and Fabio Grassadonia. Not just introduced, but being put under a filmmaking wringer they helped crank up with inspiration and relish.

With the help of other equally acclaimed European masters in the field, the award-winning duo — of Salvo and latterly and spectacularly, Sicilian Ghost Story fame — helped us beat a script for a short film into shape, and eventually shepherded us through its production phase.

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Fabio Grassadonia (front) and Antonio Piazza (back) teaching ‘Screenwriting and the Art of Dramaturgy’ at the University of Malta (October 2015). Photo by Kenneth Scicluna

If nothing else, it made for a revealing look into the process of filmmaking. It certainly helped my writing from then onwards — their thorough, no-compromise understanding of the dynamics of story created helpful subconscious voices in my head that hammer through whenever I’m faced with a knotted plot problem or unclear character motivation.

So it was with great pleasure that I caught up with one half of that duo via Skype to talk about their compelling, harrowing and gorgeous sophomore feature, Sicilian Ghost Story, on the occasion of it finally reaching our shores on general release. Though I’d actually seen it just over a year ago when it made a ‘soft’ premiere in Malta as part of the third edition of the Valletta Film Festival, and I did not hesitate to subsequently name it the best film of that year.

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Star-crossed, never lost: Julia Jedlikowska and Gaetano Fernandez in Sicilian Ghost Story

We spoke about the film’s enthusiastic perception in the “Anglo-Saxon world” and how this denotes something of a cultural divide between that region and their native European south, about how ethical responsibility plays a big part in the duo’s representation of the mafia. But most importantly and urgently — at least, as far as I’m concerned — we discussed how misunderstood and misrepresented the fantastical mode often is in contemporary cinema and perhaps Western culture in general.

“Our films are more closely connected to the world of dreams, nightmares… hidden desires and visions. They beg for a more metaphysical contemplation.”

Check out the interview on MaltaToday by clicking here

Savouring the Action | Mission Impossible: Fallout

It’s been a while since a summer blockbuster has impressed me as much as Christopher McQuarrie’s Mission Impossible: Fallout has, and this speaks to both my own fatigue with the Hollywood mainstream as well as the very evident mechanics which foment that fatigue.

I’m writing this literally minutes after having also enjoyed Ant Man & The Wasp, but that enjoyment was tellingly less pronounced when compared to the exhilaration I felt during particularly the latter act of the Tom Cruise-starring superspy epic, the poster for which I was left to gaze on longingly during our intermission for the latest Marvel Studios installment — yes, intermissions are still a thing here — and wishing that I was back in there with Ethan Hunt.

mission impossible tom cruise

I’m tempted to assume that a heady confluence of factors led to the Mission Impossible franchise being the primary rallying point for action cinema this season. One of them is Tom Cruise’s sheer determination to cement his status as a still-viable action hero, as he sets out on a warpath to run, climb, punch and kick his way out of an uncomfortable whirlwind of tabloid-friendly personal eccentricity.

The other is the simple existence of the John Wick franchise, which reminded all and sundry — but most significantly, studio heads — that shaky cam should no longer be the way to make action movies, and that if you do it properly, all the money you spend on thorough choreography and lucid camerawork will be recouped by an appreciative audience.

rebecca-mission-impossible-fallout

It’s also a reminder that action is a balletic feature of any narrative, that should be taken in slowly and savoured. Unlike the Michael Bays of this world, McQuarrie seems to understand that action is not a condiment to be assaulted with. It should be an integral part of the meal — a showcase piece, to be sure, but not a murderously spicy dish that brings tears to your eyes before coming to life to punch you in the face, leaving you black-eyed and confused.

Another thing that also made Fallout so endearing is that it tapped into the vein of espionage-pulp that the Bond franchise has gone weird on, and that Bourne has reduced to a gritty sludge that nobody is biting on anymore. It comes down to a pact with the audience – an understanding that these are superhero stories where the heroes have no powers but do superheroics regardless, and where technology is effectively magic.

So yeah. Mission Impossible: Fallout. I liked it a bunch. Read my ‘official’ review of it on MaltaToday by clicking here

 

Berlinale 68 | Dreaming of a kinder world

The mercifully long-form article I got to write about my inspiring trip to the 68th edition of the Berlin International Film Festival is now online over at the newly-revamped MaltaToday news portal.

Photography was generously provided by my fellow “visitor” from Laos, the filmmaker Xaisongkham Induangchanthy.

TR FEATURE Berlinale PIX 2

But for all these hints of mystery, it’s deliberate and clear-eyed human impositions which engulf the city, in ways that are often inspiring and beautiful but which leave little room for the imagination. And if we are to speak of dreams from the lens of one of their most famous and enduring philosophers – Sigmund Freud – contemporary Berlin stands as precisely a rigid, assertive bulwark against the kind of subconscious demons Freud wrote about.

Click here to read the full article

February Updates #3 | Awguri, Giovanni Bonello; Toni Erdmann; Brikkuni & Unintended

Yep, I had said February was a wonderfully busy month for me, and it’s proven to be so right until the end.

Awguri, Giovanni Bonello launch

giovanni-bonello

First off the ground is the most recent — the launch of Awguri, Giovanni Bonello at Palazzo Pereira in Valletta, which I’ve spoken about earlier and which was commemorated at a very posh — but otherwise very pleasant — party organised by Merlin Publishers and the other ‘conspirators’ involved in this festschrift for Judge Giovanni Bonello, who turned 80 last year and who apart from a distinguished legal career, penned his own micro-histories which Merlin cherry-picked through and passed on to ten selected authors.

Judge Bonello was nice enough to say — in a moving speech at the event — that we lent an extra dimension to his otherwise “two-dimensional” figures; but all I’ll say is that I certainly had great fun with my story ‘Bellicam machinam vulgo petart appelatum’, which allowed me to meld the history of an already-sensational character — Caterina Vitale — with Gothic pastiche. Being encouraged to channel the likes of Frankenstein and Dracula into something of my own certainly felt like opening a fount that was dying to be opened; as was being able to indulge in an ornate, baroque literary style (whose convoluted sentences proved to be something of a challenge to read out loud during the launch party, however!)

Click here to read more about the book 

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Toni Erdmann | Film Review

Peter Simonischek and Sandra Hüller play a distant-but-constricting father-daughter pair in Maren Ade’s critically acclaimed comedy Toni Erdmann

Peter Simonischek and Sandra Hüller play a distant-but-constricting father-daughter pair in Maren Ade’s critically acclaimed comedy Toni Erdmann

“Growing tired of their distant relationship following yet another whirlwind visit from his go-getting daughter, Winifred decides to pay a surprise visit to [his daughter] Ines in Bucharest. When his plan for enforced bonding fails, Winifred changes tack – and persona – by adopting a wig and fake teeth and introducing himself as ‘Toni Erdmann’ to Ines’ friends and colleagues… while a horrified Ines looks on as her father threatens to compromise her professional and social standing.

“While this sounds superficially amusing and perhaps even creepy, what in fact develops is a touching study in second chances. For Winifred, this is something of a last-ditch effort to make up for any mistakes he may have made while raising Ines – his bumbling nature throughout suggests there may have been many – while Ines is suddenly given a chance to inject some humanity in her ambition-driven, corporate existence.

“Ade’s deceptively loose directorial style leaves plenty of room for the excellent performances by Simonischek and Hüller to shine through, building the film at a humane pace that ensures its emotional peaks feel entirely earned, and not forced into place by a script aiming for formulaic pressure points.”

Click here to read the full review

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Rub Al Khali by Brikkuni | Album Review

Brikkuni debuting songs from Rub Al Khali during a concert at the Manoel Theatre in October 2015 (Photo: Chris Vella)

Brikkuni debuting songs from Rub Al Khali during a concert at the Manoel Theatre in October 2015 (Photo: Chris Vella)

“Because [Brikkuni frontman Mario Vella’s] expressions of anger and disillusionment, harsh and inflected with dark humour as they sometimes are, always come from a place of earnest emotion. Vella’s not one for protective irony or tongue-in-cheek games: his political, social and critical observations are always made plain for all to see – something that holds true for both his oft-legendary Facebook posts and the content of Brikkuni’s songs in and of themselves.

“And with Rub Al Khali he has taken his earnest approach into what is arguably the most vulnerable place imaginable. Brikkuni’s third album is a concept album, of sorts. A concept album about the dissolution of a ten-year relationship. Yeah.”

Click here to read the full review

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Unintended | Theatre Review

Close shave… too close: Mariele Zammit and Stephen Mintoff. (Photo: by Christine Joan Muscat Azzopardi)

Close shave… too close: Mariele Zammit and Stephen Mintoff. (Photo: by Christine Joan Muscat Azzopardi)

“But ironically, for all the hard-ons it seeks to inspire in our beleaguered protagonist, the second half of the play is remarkably limp as far as narrative drive is concerned. After poor Jamie is drugged and drugged over and over again and seduced into having aggressive – though it must be said, not entirely unsatisfying – sex with Diana, the play abandons its previously established vein of cheeky black humour and simmering tension in favour of a terminal descent into tired ‘torture porn’ territory.

“That Buckle is a fan of the in-yer-face theatre genre will surprise absolutely nobody – at least, not those who have followed the trajectory of Unifaun Theatre with even a fleeting sideways glance over its admirable run – and let’s face it, we all knew Unintended was heading towards a gory climax of some kind. But the problem is neither that the violence and degradation on display are ‘too much’, and neither, really, that this was a predictable move for the debut play by Unifaun’s founder and producer. The issue is one of simple story structure.”

Click here to read the full review 

Soundtrack to a speculative action scene

1. Your job is to try not to think of Dredd, but think of something more fragile and immersive.

2. We’re going deeper and wider, and the horror is closing in.

3. Running, jumping. But no fancy parkour. Stylised flames (you have no idea where they came from) just about lick an army of weaponised motorbikes. You notice the giant octopus from the edge of your vision.

4. This is what passes for romance in this world – or at least at this point in time. You recognise the threat and, hands trembling and sweat pouring in FFWD streaks, you try to formulate a plan.

5. Is it a plan of escape, or attack?

6. The moment of hesitation. Death or glory? Whatever the case, this is the point at which we – the sadistic, baying audience – get to revel in the beautiful, dark maw of what’s chasing you. The Gothic, blissful evil that’s more powerful than you could ever have imagined.

7. You have a power, a weapon – whatever. It could be an army of tanks or an armada or a hive of mind-controlled killer bats. Whatever – you’re channelling it, and you’re winning.

8. But for how long?

9. What happened? What’s the outcome? Somebody’s calling, which means somebody is alive. Will they live to fight another day?