FlixChatter Review: LOVE SARAH

Love Sarah poster

We all have our comfort food, whether home-cooked or high sugar/carb variety, we can always rely on to console or uplift you. Same with comfort movies, something guaranteed to have high feel-good content to make you feel all warm and fuzzy. Well, LOVE SARAH is the kind of sweet, poignant drama that can be described as my kind of comfort movies… and in this case, the sweetness also comes in the form of all those scrumptious baked goods featured in the film!

LoveSarah-cast

You know the saying how ‘an end can also be a beginning’… well, this movie starts off with a tragic loss that affects three different women. A friend, a daughter and a mother all mourn the loss of the title character. There’s the friend, Isabella (Shelley Conn) who has been waiting in front of what’s supposed to be the new space of their new bakery on the day Sarah dies in a bicycle accident. Then there’s Sarah’s mother Mimi (Celia Imrie) who’s in the middle of writing a letter when she hears the door bell rings with two policemen standing outside. Meanwhile, her daughter Clarissa (Shannon Tarbet) comes home from a dance rehearsal only to be dumped by her boyfriend, leading her to crash at the now-empty would-be bakery and later staying with her grandmother.

LoveSarah-bakery-openingday

It’s while she was staying with her grandma Mimi that Clarissa comes up with the idea to fulfill her dead mother’s dream of opening her own bakery. Despite Clarissa’s unbridled enthusiasm, Isabella is reluctant to start it up again… understandably so, given how devastating it was to see their original plan just shattered to pieces when her best friend passed. Mimi somehow agrees to fund the venture, so voila! the Notting Hill bakery is born. They even enlisted a Michelin-star-winning chef Matthew (Rupert Penry-Jones), an old classmate of Sarah and Isabella in culinary school.

I was immediately charmed by this movie, directed by Eliza Schroeder who’s credited with the story though its screenplay is credited to Jake Brunger. Now, the film has a certain dream-like quality, but it’s realistic enough to depict the reality of a new enterprise. People weren’t exactly lining up to get a piece of the delectable concoction featured on the store window on their first week, which means they have to get creative. For a film about a bakery, they sure don’t skimp on the scrumptious, drool-worthy treats.

LoveSarah-desserts

It got even more mouth-watering when Mimi proposed to transform their bakery to feature desserts from all over the world. Inspired by a delivery man from a Baltic region, she realizes the fact that London is such a big multi-cultural city filled with immigrants from various nations. Soon the bakery became the place where non-English residents can feel a little bit at home while enjoying their favorite treats from their home country. What a splendid idea, it made me wish there were a similar bakery like this exist near me! I love the baking process as Isabella and Matthew constantly learn how to create intricate desserts from places like Lisbon, Australia, Denmark, Japan, etc.

LoveSarah-CeliaImrie

I know that inclusivity and diversity in movies is on the rise and while that’s a wonderful thing, I also dread it when we’re hit over the head with it. Thankfully the celebration of different cultures here feels organic and natural with the worldwide baked goods practically are characters in themselves in the movie. Speaking of characters, I also love the cast! Celia Imrie and Rupert Penry-Jones are perhaps the most known to US audiences and they’re both memorable here, but I love Shelley Conn as a romantic lead. The romance between Isabella and Matthew might be predictable but they such a palpable chemistry. I also love how the entire ensemble mesh well together and effortlessly makes you root for them and this project.

LoveSarah-Shelley-Rupert

Love Sarah is a love letter to anyone who’s ever had a big dream or lost someone dear… it’s also a heartfelt story about second chances that should be relatable to anyone. I feel like it’s been ages since I’ve seen a good rom-com, plus the setting in one of my favorite European city always makes me feel warm and fuzzy. It might not be quite as witty nor bewitching as Richard Curtis’ movies, but it’s certainly got loads of charm and soothing quality that wins me over. I would’ve happily seen this on the big screen had this been released in US cinemas, but since it’s on HULU, I’m glad I can always revisit it.

3.5/5 Reels


Have you seen LOVE SARAH? I’d love to hear what you think!

FlixChatter Review: WANDER DARKLY (2020)

The story of Wander Darkly centers on new parents Adrienne (Sienna Miller) and Matteo (Diego Luna), who are suddenly forced to deal with a traumatic incident amidst their troubled relationship. In fact, the characters are in right in the middle of an argument when an accident happens. It wouldn’t be a spoiler to say that the film deals heavily with themes of death and existence, as it’s been revealed the trailer and the promos.

It’s never clear though if the characters walk among the living or the dead, particularly in regards to Adrienne. Is she dead or isn’t she? The film weaves in and out of ‘cinematic consciousness’ if you will, as you’re not quite sure what’s real and what’s in the character’s head. Adrienne is seemingly stuck in purgatory as she sees her physical body in the hospital gurney. But then Matteo ‘joins’ her and he’s hellbent in convincing her she is still alive.

The film shows various montages of the couple revisiting memories of their past. Again, I don’t know if these are memories or actual flashback of their lives together, from the time the first met, that is their ‘honeymoon’ state even though they’re not married. In fact, the fact that they’re not married is one of the point of constant argument and it’s clear Adrienne is quite resentful of the fact that Matteo never proposed.

Miller and Luna have a wonderful chemistry and the two talented actors gave their all to their respective roles. They are believable as mis-matched couple who struggle to make things work, taking us on their emotional roller-coaster. Though the couple seems in love, but they constantly bicker and at times their arguments get pretty heated as they lash out at each other. There’s a certain distrust between them that’s played out in a pretty realistic way, given how chummy Matteo is with a sexy female ‘friend’ of his. Matteo is not exactly portrayed like a Don Juan type, but he doesn’t exactly assures his girlfriend and mother of his child of his fidelity.

Glad to see Luna portray a non-stereotypical Mexican man (at least not the kind that’s often portrayed in Hollywood) and this is the first time I see him in a dramatic role. I also appreciate that the filmmakers honor his heritage, as there are scenes during the Day of the Dead, which is a Mexican holiday. I haven’t seen Miller in too many dramatic leading roles either, but she’s quite convincing here in a deeply-emotional performance. You could say Adrienne is the heart and soul of the movie and her heartbreak is quite heart-wrenching. Adrienne becomes almost lifeless at times, perhaps the filmmaker’s trying to illustrate that she’s been ‘dead inside’ the whole time, I’m not sure. The bit of her watching a zombie movie is a bit on the nose, but it’s one of those rare droll moments in this film.

I read that writer/director Tara Miele had suffered a car crash that became the inspiration for the film. Interestingly, and perhaps that’s how these talents end up working together, Luna’s mother died when he was only two in a car accident, so this story is clearly a personal one for the two of them. The car crash itself, and the moment leading up to it is quite nightmarish to watch, even though you knew it’s going to happen.

This is pretty heavy movie told in a non-linear way from start to finish, which made the relatively brisk 1.5 hour running time feels much longer. We spend practically the entire film with just two characters who aren’t exactly likable, filled with constant bickering between them, as well as the resentments towards Adrienne’s mother (Beth Grant). Now, I don’t mind slower movies, and I think the non-conventional storytelling style gives this movie an edge. I just wish there’s a bit of levity or sense of humor to give us a break from the constant dread and somber tones. It doesn’t help that the cinematography also looks too dark at times. I guess it’s possible that the filmmakers are trying purposely making things feel disoriented as that’s how the characters are feeling, but it doesn’t exactly make it a pleasant viewing.

At times the film felt experimental, which is fine in and of itself but it doesn’t always work well here. The visual transitions between the two worlds Adrienne is seemingly trapped in gets confusing at times, which adds to the frustration. There’s also one particular scene towards the end that feels like an unnecessary jump scare, which feels at odds with the rest of the film.

That said, I always appreciate seeing a film about love, especially a character-driven one that’s poignant and heartfelt. I commend Miele for taking such a harrowing personal experience of her car crash into an art form. I’m not familiar with her work, but this is her fourth feature film and she’s also done directing work for TV series (Hawaii Five-O, Arrow). She’s definitely a talented filmmaker who can bring out fantastic performances out of her cast. I’d love to see more of her work in the future.

Have you seen WANDER DARKLY? Well, what did you think?

Netflix’s The Old Guard (2020)

I’ve been excited for this film since its trailer dropped last May… luckily, unlike theatrical releases that’s getting delayed indefinitely [even those as huge as Chris Nolan’s TENET], a Netflix release is a guarantee.

The Old Guard centers on a covert team of immortal mercenaries who’ve been living for centuries. First, we meet the group’s leader, Andromache of Scythia or Andy for short, played with her usual graceful-yet-badass self by Charlize Theron. She’s channeling her Mad Max: Fury Road‘s Furiosa here in her taciturn yet caring nature. Soon she’s reunited with three other members of the group, Booker (Matthias Schoenaerts), Joe (Marwan Kenzari) and Nicky (Luca Marinelli).

They get hired by former CIA operative Copley (Chiwetel Ejiofor) to rescue kidnapped children in South Suddan. Given that this tight-knit group’s been fighting to protect the mortal world for centuries, this sort of mission is definitely right in their wheelhouse. As it turns out, it wasn’t as much a mission as it is a trap which expose not only who they are, but what they’re capable of. While on the run, the group discovers through visions/dreams that there’s another immortal warrior out there in the world, and Andy promptly sets out to find her.

I particularly like the interaction between Theron and Kiki Layne (who was terrific in If Beale Street Could Talk) as US Marine Nile Freeman, who’s not exactly easy to convince to join the group. Nile has her own mind and naturally has a ton of questions about her own identity/ability and about this new group she’s being recruited into. There are plenty of fight scenes in this flick, but the one on the plane between Andy and Nile are pretty exciting to watch, which also serves to tell the story as Nile discovers just how powerful she is.

I like that The Old Guard isn’t so much an origin story… Greg Rucka, the author of the graphic novel who also penned the script, doesn’t reveal every backstory of the characters. In fact, Andy’s been living–and dying over and over again–for so long she could barely remember how old she is. There are moments when the characters reveal how they met. Andy and Booker met during the Crusades, while Joe and Nicky were one time enemies who actually [tried to] kill each other before they became lovers. It’s a fantastical, mythical story involving people with superhuman abilities, yet still feels grounded somehow.

The direction by Gina Prince-Bythewood (Love & Basketball, Beyond the Lights) is thrilling but not bombastic. I mean, she’s not afraid to shoot some bloody, brutal fight scenes where Theron gets to hack multiple guys with her Medieval battle axe in a dance-like motion. But she also peppers the film with some quiet, introspective moments as the characters ponder on their immortality and how it’s not as easy as we mere mortals think it is. The nomadic lifestyle, the endless loss of loved ones they constantly have to say good bye to as they go on living… these are themes that are explored well here. Films dealing with characters living forever have addressed this before, but yet here it feels really personal and organic. The scene between Booker and Nile is quite heartfelt, with Schoenaerts giving his all, is a testament to how committed all the actors were in their roles. Joe’s declaration of love to Nicky is perhaps a first for a LGBT character in a superhero film of this scale.

Relative newcomer Kiki Layne, who hasn’t done a big action flick before, is quite believable here in her role. Nile is the one with the conscience, as she struggles to kill people the way the group’s done effortlessly for hundreds of years. It’s consistent with her faith in God that she’s shared briefly on the plane with Andy… even when it’s time for her to save the day, i.e. the scene of her in the elevator before the big showdown, she doesn’t lose her humanity despite her super-heroic ability.

Now, the film isn’t flawless however. While the immortal superheroes have intriguing character arc, their nemesis Merrick is your typical greedy pharma exec with a Mark Zuckerberg complex (complete w/ his hoodie-wearing wardrobe). I’ve never seen Harry Melling before but I think he’s miscast as he looks about as threatening as a meerkat. Chiwetel Ejiofor‘s Copley is morally ambivalent, he’s a man driven by a tragic past which leads to a misguided ‘solution.’ I’ve always liked seeing him in films, though he doesn’t get to do very much here.

Speaking of Ejiofor, I read an article earlier this week where he’s quoted as saying that he’s ‘…envious of Charlize Theron’s ability to tell narrative through physicality’ I have to say that it truly a gift not many actors possesses, but the South African native certainly does and she uses it well! There’s a scene in the beginning where the camera followed Andy simply walking in the streets, through a corridor, etc. All we see is the back of her head but yet we’re transfixed by her graceful yet confident style.

The big showdown at the end is kind of a mixed bag. I think the fight scenes are good, albeit with the use of contemporary songs doesn’t always work well. I didn’t completely hate it, but I wish they’d just stick to a dynamic score instead. The finale is left open-ended for a sequel, which involves a pretty important character shown in one of the longer backstory of the lead. I’m actually down to see more of this action fantasy, especially if they can retain the same director and cast. Hopefully they’d improve the music choices the next time around and find a more formidable foe worthy of these bad-ass immortal warriors.

Given that other female-directed/female-led action flicks like Wonder Woman and Black Widow are delayed this year, The Old Guard fills the void quite nicely. It’s got a heart as big as the big action pieces, and I’m sure glad to see a group of bad-ass superheroes with such a diverse cast.


Have you seen The Old Guard? Well, what did you think?

Trailer Spotlight: Netflix’s The Old Guard (2020)

Happy Thursday!! It’s rather gloomy here where I live, so it’s nice to see something that gets the juices flowing. Definitely something to look forward to July 10 as that’s the date it’ll drop on Netflix, yay!

A covert team of immortal mercenaries are suddenly exposed and must now fight to keep their identity a secret just as an unexpected new member is discovered.

I’m not always excited for Netflix Original Movies, I mean I haven’t seen Chris Hemsworth’s Extraction, and probably never will. But there’s SO much going for it here that makes me yell ‘yeah!!’ even as I’m watching the trailer 😀

I do love Charlize Theron in action movies. She’s great as Furiosa in Mad Max: Fury Road and also in Atomic Blonde, she looks believable here too as Andy (is that a nickname??) the leader of immortal mercenaries who’ve been fighting to protect the mortal world for centuries. As if they weren’t bad-ass enough by the looks of it, they’re also very hard to kill! Dayum, I certainly don’t want to be on their wrong side!

I LOVE the director too, Gina Prince-Bythewood (Love & Basketball, Beyond the Lights), glad to see her doing an action genre! It’s apparently based on a 5-part graphic novel of the same name by Greg Rucka. Now, as for the rest of the cast, we’ve got Kiki Layne who’s lovely in If Beale Street Could Talk, and three of my fave Euro actors who are all verrry easy on the eyes: Chiwetel Ejiofor, Matthias Schoenaerts and Marwan Kenzari.

I’m intrigued by the concept that they’re immortals. Who are The Old Guard and why they sent ancient warrior Andy to recruit the team? How do they get the immortal ability? Why are they protecting the mortals? And why they seemingly always in hiding/on the run? There’s a quick blurb about the group could potentially be weaponized, and looks like Ejiofor is their enemy here, it’s not clear exactly who his character is. One thing for sure, looks like even he’s shaking in his boots when the Old Guard are near!

Well, based on the trailer, I really can’t wait to see this!


What do you think of this trailer?

Trailers Spotlight: Radioactive + Mr. Jones

Hello everyone! I know the mood is grim as the world is grappling with the Coronavirus outbreak. As disappointing as seeing films we’re anticipating getting canceled, when put into perspective, it’s a small inconvenience for us filmgoers… though of course my heart goes out to filmmakers/festival organizers/artists and  businesses affected by this pandemic.

But hey, they can’t stop me from still being excited about films that would get to our screens eventually… and both of these are based on real historical figures AND directed by female filmmakers.

RADIOACTIVE

The first film I’m highlighting here is actually pretty timely and relevant given Marie Curie’s instrumental discovery in cancer treatment.

A story of the scientific and romantic passions of Marie Sklodowska-Curie (Polish scientist) and Pierre Curie, and the reverberation of their discoveries throughout the 20th century.

I’m immediately sold on this based on the two leads, Rosamund Pike and Sam Riley (who’s so criminally underrated!) as Marie and Pierre Curie. I love the role choices Pike continues to do, she’s definitely got the chops to play brave, headstrong, intelligent women in male-dominated fields. She was terrific in A Private War, interestingly it’s also based on a real life war photographer that’s also named Marie, Marie Colvin to be exact. I’m so glad to see Sam Riley in a prominent role (it breaks my heart to see him wasted as a silly raven in those Maleficent movies!!).

Per IMDb, this film is based on the graphic novel Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout by Lauren Redniss. It’s Iranian director Marjane Satrapi‘s first film based on a graphic novel that she didn’t write herself. Two of her films Persepolis and Chicken with Plums are both based on her own graphic novels. That fact alone made this film all the more intriguing!

I don’t know much about Marie Curie’s life aside from her legacy in science and being the first female scientist to win a Noble Prize in Physics (albeit a shared prize with her husband), and later in 1911 she won another Nobel Prize in Chemistry. I can’t wait to see this one and hopefully it’ll arrive in Amazon Prime soon as Amazon Studios has bought the distribution rights.


MR. JONES

Here’s another based-on-a-true-story about a topic I’m not familiar with. Though there are numerous films about WWII and the Holocaust, I don’t think I’ve seen a film about the Holodomor genocide, a man-made famine in Soviet Ukraine in 1932- 1933 that killed millions of Ukrainians (per Wiki).

Agnieszka Holland’s thriller, set on the eve of WWII, sees Hitler’s rise to power and Stalin’s Soviet propaganda machine pushing their “utopia” to the Western world. Meanwhile an ambitious young journalist, Gareth Jones (James Norton) travels to Moscow to uncover the truth behind the propaganda, but then gets a tip that could expose an international conspiracy, one that could cost him and his informant their lives. Jones goes on a life-or-death journey to uncover the truth behind the façade that would later inspire George Orwell’s seminal book Animal Farm.

 

 

I’m not familiar with Polish director Agnieszka Holland but she has quite an extensive resume in film and TV, including acclaimed series such as House of Cards, The Killing, etc. I’m particularly intrigued by the fact that its screenwriter, Andrea Chalupa, has been inspired by her own grandfather who’s from eastern Ukraine to write about Stalin’s genocidal famine (per Guardian‘s rave review). So there’s definitely something deeply personal in the part of the filmmakers.

I’ve been a longtime admirer of British actor James Norton for some time, I’m glad to see him in the lead role! He’s a terrific actor and looks pretty convincing as an idealistic journalist. Nice to Vanessa Kirby in a prominent role here as well. As a big fan of journalism movies, especially those based on real-life events, I’m definitely looking forward to seeing this.


What do you think of these two trailers?

Portrait of A Lady on Fire (2019)

Written & Directed by: Céline Sciamma

Winner of last year’s queer palm at Cannes, Portrait of a Lady of Fire creates something new. By using the form of a period piece, Sciamma was able to create something contemporary. Set in the late 1700’s on a remote island, Marianne (Noèmie Merlant) is commissioned to paint a wedding portrait of Héloïse (Adèle Haenel).

While the age of Enlightenment is taking place, women remain tethered by convention whether in painting, servitude or marriage the women of this film find themselves propelled by outside/social forces. For a time, these women are seemingly protected, isolated from the mainland and patriarchal society before being forced to confront the reason their lives have come together in the first place. The women of this film learn to depend on each other, finding a sense of companionship and balance only to have it abruptly end.

Hailed as a post me-to0, LGBTQ and feminist masterpiece, Portrait of a Lady on Fire is a film most concerned with the artist and the idea of the gaze. This theory can be used a bridge between art as a medium and social theory, integrating politics and art history. While a gaze can be used to confer meaning upon a piece, the relationship of the viewer and the viewed are always in negotiation.

As best stated by [French historian and philosopher] Michel Foucault while studying the function of the gaze in the painting Las Meninas the “observer and the observed take part in a ceaseless exchange. No gaze is stable…subject and object, spectator and model reverse their roles into infinity.” This communication is the exploration of director Céline Sciamma. The relationship between the two main characters blurs until it is unclear who is looking at whom. Through the film, the gaze becomes their mode of interaction. Intimacy and attraction grow as they share in this collaborative act and the painting’s completion serves as tribute.

Héloïse’s journey goes from being an object/the muse to someone who observes the subject and thus becomes the Marianne’s collaborator. This is a really amazing technical performance by Adèle Haenel, which destroys the traditional idea of art as a horizontal relationship to a horizontal one of give and take, or as in painting, layers of alternation.

This film also challenges the assumption that we have progressed as a society as well as in art, or at least that progress happens in a linear fashion. Choosing to place the film in the time of the late 18th century, a time known for a huge rise in female artists who were later censored and removed from art history is a very intentional choice. It is the perfect time to place a critique on the backlash female filmmakers are currently facing. This goes back to the idea of the gaze and one’s in ability to control how one is perceived by others, specifically due to culture and society. As Michel Foucault states “insofar as I am the object of values which come to qualify me without my being able to act on this qualification or even to know it, I am enslaved.”

A truly beautiful and cerebral film that will give you an exciting and new perspective on art and love. It’s a hopeful as well as critical film that offers insight into ideas of identity and personhood.

– Review by Jessie Zumeta


Have you seen Portrait of a Lady On Fire? Well, what did you think? 

Trailer Spotlight: THE RHYTHM SECTION (2020)

Happy Tuesday, everyone!! I’ve been meaning to do a trailer post but somehow kept getting sidetracked. Now, since I’ll be seeing The Rhythm Section tonight, and am quite excited about it, I thought I’d post it today.

Stephanie Patrick veers down a path of self-destruction after a tragic plane crash kills her family. When Stephanie discovers it wasn’t an accident, she soon embarks on a bloody quest for revenge to punish those responsible.

I have a thing for international spy thrillers, I like the cast and the trailer looked promising. Based on a novel by Mark Burnell, who also wrote the screenplay, and produced by EON Productions, the film company known for producing the James Bond films. I’ve been a big fan of Blake Lively, I think she’s a charismatic and versatile actress. I’ve seen her in four films so far, The Town, Age of Adaline, The Shallows, A Simple Favor, and she’s good in all of them. We already know Lively can play a believable femme fatale, but here, perhaps she can display her prowess as an action heroine.

Jude Law‘s grown to be a reliable character actor over the years, and Sterling K. Brown is undeniably a fantastic actor. He’s amazing in WAVES, too bad somehow he’s overlooked this award season. Looks like he’s playing Lively’s love interest in this one based on a glimpse of the trailer? Oooh yeah!

I’m also excited the fact that it’s helmed by a female director, Reed Moreno. This is Moreno’s third film after Meadowland and I Think We’re Alone Now, where she did double duty as director and DP. In fact, you might have seen her outstanding work as a cinematographer in Frozen River, Kill Your Darlings, The Skeleton Twins. For her work directing the pilot for HBO’sThe Handmaid’s Tale, she won both the DGA and Emmy award for Outstanding Directing for a Drama Series. I haven’t seen her directing work yet, so I’m super excited to see this. This time she’s working with DP Sean Bobbitt who garnered many accolades for 12 Years Of Slave.

One worrisome part is the fact that the film’s release date was delayed at least twice. Per IMDb Trivia, it was originally scheduled for a February 22, 2019 release, before being delayed ten months, apparently because Lively got injured on set. Then it’s finally ready for release later this Friday, January 31. I’ll give this one the benefit of the doubt though, let’s hope this one wouldn’t be a typical January dud.


What are your thoughts of The Rhythm Section trailer?