The Lighthouse

13 Feb 2020 2 Comments

by Debra Manskey in Movie Review, Writing Tags: , , , , , , , , ,

Willem Dafoe and Robert Pattinson in The Lighthouse (2019)

The Lighthouse (2019)

Written by Robert & Max Eggars. Directed by Robert Eggars.

As anyone who comes here regularly would know, I watch a lot of movies. Sometimes they are perfectly fine while up on the screen but don’t stay with me, and within hours I need to refer to notes made in the cinema to jog my memory into writing a review. Not so with Robert Eggars’ latest film – I found it truly memorable and cannot stop thinking about it!

The Lighthouse is many things, which makes it difficult to adequately describe without giving away massive plot spoilers – which I have no intention of doing. Suffice it to say, I found this seemingly simple story of two men alone in a lighthouse a riveting cinematic experience that becomes increasingly complex and deep. From the opening scene, this is a film that demands your full attention and becomes (at times) uncomfortably intense.

Willem Dafoe and Robert Pattinson star in this two-hander and both are excellent. I’ve come to expect this of Dafoe, who never disappoints, but Pattinson is extraordinary here and has become an actor of depth and serious value. There is surprisingly little dialogue between them but that is delivered with intent and tension. For a relatively quiet film, it’s very loud, with superb diagetic sound and a score that weaves through this isolated and desolate world.

For film nerds (like me), the movie was shot on 35 mm black and white film stock, using vintage Baltar lenses, which required much stronger lighting for the interior scenes, creating deeper contrasts and also forcing the almost square 1.19:1 (or Movietone) aspect ratio. This makes so much of the film ultra close up and at times, downright claustrophobic despite being so isolated. There are many seemingly small things like this that combine together to make this film a cinephile’s delight – the haunting sound design, the very specific dialects used by the actors, the atmospheric score by Mark Korven, the brilliant cinematography by Jarin Blaschke, and the superb editing by Louise Ford. All combine together to make a truly memorable cinematic experience.

Narratively, the story was drawn initially from an unfinished work by Edgar Allen Poe and a real-life incident from an early 19th century Welsh lighthouse. But at its heart, I think this has more in common with Greek tragedy – particularly Proteus, the prophetic sea god and Prometheus, the trickster who stole fire from the gods and was punished so horribly. Set in the late 19th century, this is a period piece that doesn’t exclude modern viewers. There are strong themes of the performative nature of work and masculinity, which are relatable audience entry points and become so very obvious as the layers of social norms are stripped away from the characters and their true natures revealed. And above all, the lighthouse – which almost becomes a character itself, in all its intense and claustrophobic isolation.

At times, The Lighthouse is a hard watch and if you’re not a fan of being challenged by a piece of cinema, I cannot recommend it to you. However, if you like horror that is cerebral as well as visceral, you’ve come to the right place. If there is a fault, it is a little over-long with a running time of 109 minutes, but I wonder now if that was intentional. Like Eggars’ previous feature, The Witch (2015) there are questions posed that are never answered. The existential horror at the core of this drama is arguably something that exists in all of us and here, Robert Eggars in concert with his excellent cast and crew, gradually peel away the artifice of societal expectations to reveal that dark heart.

The Lighthouse is currently in (relatively) wide release across Australia and I’d like to thank Monster Fest for the opportunity to see and review it.

Star Wars: Episode IX – The Rise of Skywalker *NO SPOILERS*

23 Dec 2019 1 Comment

by Debra Manskey in Movie Review, Writing Tags: , , , , ,

Anthony Daniels, Carrie Fisher, Billy Dee Williams, Keri Russell, Oscar Isaac, Jimmy Vee, Adam Driver, John Boyega, Kelly Marie Tran, Daisy Ridley, and Naomi Ackie in Star Wars: Episode IX - The Rise of Skywalker (2019)

Star Wars: Episode IX – The Rise of Skywalker (2019) *NO SPOILERS*

Directed by J.J. Abrams

The Star Wars franchise has become so big it’s difficult to really discuss objectively – everyone has a position on which of the nine films are best, favourite characters, etc. As a film scholar, I tend to look more at how scenes are handled, shot, lit, if the music intrudes or enhances, if the editing/pacing hits or misses, if the narrative makes sense. But as a film fan, I’m old enough to remember going to the cinema to see the original trilogy, so for me it’s always going to be Han Solo and Princess Leia in The Empire Strikes Back (1980).

Often cited as the first true transmedia narrative, the Star Wars saga has been told in graphic novels, animation, books, video games, fan fiction as well as the films. Add on the thousands of toys that fueled the imaginations of children for the past four decades and there’s a cultural icon of truly epic proportions. 

So it’s really appropriate that this final film in the most recent trilogy, the ninth movie overall, ties up all the loose ends and draws a final line under the Skywalker story. And for the most part, it does a pretty good job. 

The first act is (to put it mildly) hectic and altogether rather messy, deviating a little too much from the standard Star Wars formula of big opening set action piece to draw in the viewer and then a short (and usually) more static interlude before settling into its own groove. Here, the action goes on – a little too much for me – and gets in the way of the narrative flow. I should also warn that this is one of those movies that is difficult to see in isolation – I doubt it would make a lot of sense to anyone who hasn’t much background in the story world or has at least a modicum of interest in the other films. 

As a whole, it rides high on nostalgia and the central themes of family and redemption. There was a moment at the end of the second act when I knew I was being emotionally manipulated by the film – and I was perfectly happy to shed tears! The production design is superb (hats off to Rick Carter and Kevin Jenkins) and there are easter eggs galore, oozing out of almost every scene and often, embedded in the set design. The sound design is also right on target and the visual effects are everything I want from a Star Wars movie. Once again, the young cast are perfectly fine, with Daisy Ridley perfect as Rey, but it’s Adam Driver who stands out (despite being in everything at the moment!), delivering a memorable performance as the conflicted Kylo Ren. I have to mention one of my favourite actors Richard E. Grant too, who looks like he’s having way too much fun as General Pryde. 

Without giving anything away, I found this a mostly satisfying conclusion to a very big story but I have to admit, I prefer the often derided The Last Jedi (2017) for its much bolder approach to both narrative and direction. My prediction is that in years to come, Rian Johnson will be vindicated in his choices and The Last Jedi will be reassessed far more favourably. In the meantime, J.J. Abrams delivers a workmanlike film that doesn’t have the flair of the Russo brothers’ Avengers: Endgame (2019) but is infinitely better than any of the Star Wars prequels.

I’m very interested to see where the property lands next, as there’s so much great material in the extended universe. Rest assured, just because the Skywalker story has finally come to an end, don’t be fooled into thinking there won’t be more from this fertile story world.

Captain Marvel *NO SPOILERS*

08 Mar 2019 Leave a comment

by Debra Manskey in Movie Review, Writing Tags: , , , , , , ,

Captain Marvel 2019 *NO SPOILERS*

Directed by Anne Boden & Ryan Fleck

I went to see this on opening day, the eve of International Women’s Day and seriously, I couldn’t have been happier or more excited. Back in the long-lost past of my childhood, I used to read a lot more comic books and I was always wanting more female characters. In particular the kind that didn’t need saving, didn’t always lust after male heroes, the kind that wore sensible clothes and had agency. I remember Wonder Woman (2017) and how I enjoyed it despite the narrative flaws until the final act, which was simply awful and I confess, I haven’t watched it again since.

So, I came to this with more emotional baggage than normal and I’ll get it out of the way first.

This movie was everything I ever hoped for or wanted – a very cool origin story (with echoes back to Captain America), a strong, feisty central character that was warm, emotional and feminine without being sexualised. YAY!

Now that I’ve got that out of my system, let’s look at the movie.

Brie Larson puts in a great performance as Vers/Carol Danvers/Captain Marvel and achieves the balance of quirky, not-quite-sure-of-herself young girl and noble warrior hero with a lot of style. Unsurprisingly, she is very ably supported by Samuel L Jackson, who proves again why he is the glue that keeps so much of the MCU together. After one viewing, my big takeaway are the scenes Larson and Jackson share. There’s real chemistry there and we learn so much about Nick Fury’s backstory. Lashana Lynch is really good as Maria Rambeau, Ben Mendelsohn, Jude Law and Clark Gregg are all excellent in support but Annette Bening lights up the screen every time she appears.

I think the pacing is at times patchy. The first act seemed jerky and didn’t flow particularly well for me and I wonder if it’s an editing issue. The second act is very, very well done and really delivers some great scenes. As this is a Marvel movie, the final act is everything you’d expect – all the bells and whistles – but surprisingly well-paced and not as unwieldy as it could easily have been.

With twenty prior entries in the series – yes, I count The Incredible Hulk (2008) – the CG is just what I’d expect from Marvel – very high standard that only rarely made me think it wasn’t real. In the first act especially, I noticed hardware and props that had strong design similarities with Guardians of the Galaxy (2014 & 2017) and Avengers: Infinity War (2018). This offered further textual continuity and gave this film some excellent narrative grounding.

For me, the script was good, (particularly the Larson/Jackson scenes) and I really enjoyed the second act. But some of the one-liners (something Marvel is renowned for) seemed forced and dropped very flat. Again, I’m not certain if that’s an issue with editing, comic timing or just too many unnecessary cheap jokes. Having said that, I liked the little comedic touches that are delivered almost as background detail in some otherwise serious scenes. This harks back to the talent onscreen and the depth of characterisation they brought to the roles.

I think it was a bold move to invest so much in character development, so hats off to the directing team, Anna Boden and Ryan Fleck. But the results are very deeply satisfying, bringing a fully-fledged female superhero to the screen with heart and soul. As always with the MCU, stay for the very end – there are two postscripts.

Take your mothers, sisters, daughters, girlfriends and enjoy the fun of this film. As a childhood fan of Marvel Comics and more recently, the Marvel Cinematic Universe, I’m thrilled to finally have a fully realised female superhero that I can see on the big screen.

Celebrate it!

PS: This is no spoiler – but the opening credits celebrate Stan Lee and gave me ALL the feels ❤

Extinction (No Spoilers)

01 Aug 2018 Leave a comment

by Debra Manskey in Biography, Movie Review, Writing Tags: , , , , ,

Extinction 2018 Directed by Ben Young.

It’s been driven home to me recently that I’m getting old. My local cinema, the State Cinema in North Hobart is putting on a couple of screenings of Stanley Kubrick’s 2001: A Space Odyssey to celebrate the 50th anniversary of its release. But this also gives me cause to celebrate, as 2001 was one of the films that really hooked me into science fiction film, going to the movies in general and remains a film I still love to watch.

This release from Netflix reminded me again what in influence Kubrick still has over the genre, with some early shots from Extinction clearly paying homage. I also spotted a cinematic nod to Ridley Scott’s Alien (which is rarely a bad thing) and in hindsight, these little crumbs set the tone for this flawed but interesting piece of near-future sci-fi.

Essentially, this feature directed by Australian Ben Young is a film about family – what it means to be a family and how those bonds can be stretched, twisted and (in this case) strengthened – but it is quite a dour tale.

Michael Pena plays Peter, a building engineer cum maintenance worker who lives in an architecturally beautiful unnamed city with his engineer/town planner wife (Lizzy Caplan) and his two young daughters. Peter is troubled by dreams of an alien invasion that destroys his family but as his dreams become more intense and frequent, he finds himself increasingly alienated from those he’s trying to protect. I’m not going to spoil anything for those of you who haven’t seen this yet but suffice it to say that Peter’s nightmares turn into reality and the ensuing shenanigans provide the bulk of the film. The first act/set up tells us all we need to know and above all, doesn’t outstay its welcome.

Once the action starts, it wisely relies more on practical than computer generated effects, which at times look very cheap. The tension mounts in a good but fairly predictable way but despite this, overall I found the second act pretty lacklustre. There’s a flatness about the action that took me out of the film on several occasions and I suspect this is one of the issues of trying to be a big blockbuster on a budget. Also, I felt Michael Pena and Lizzy Caplan were sadly wasted in their roles, and the inclusion of Mike Coulter (Luke Cage) as Peter’s boss confused me. One of the things I really liked were the young daughters not being the standard stereotypical “plucky kids” so often seen in this kind of film. They’re not brave or particularly resourceful, they’re just terrified kids, which was refreshing.

The twist in the third act was very good and although I knew something was coming, I didn’t spot it specifically. (Again, no spoilers here – go and see it for yourself!)

Apart from uneven pacing and lacklustre CG, my main gripe with the film is the ending. Apart from clearly leading with a case for a sequel (please don’t do it!) I feel the movie lingered way too long after the denouement. I wanted it to wind up and wave goodbye at least 10 minutes before it did.

Despite this, I am increasingly impressed by Netflix’ foray into original sci-fi film distribution. While Extinction isn’t brilliant, along with Mute, Anon and the wonderful Annihilation (all of which I’ve written about elsewhere but neglected to review here!), Netflix is bringing a welcome breath of new(ish) science fiction to my screens. The ongoing issue I see here is the platform – these films were all made to be at their best on a big screen, with so much of their cinematic value being lost on my home television or laptop.

Or perhaps, I’m just getting old and feeling nostalgic for the magic of seeing something for the first time in a cinema? Nevertheless, I’m still watching with interest!

Star Wars: The Last Jedi

16 Dec 2017 1 Comment

by Debra Manskey in Movie Review, Writing Tags: , , , ,

Star Wars: The Last Jedi 2017. Directed by Rian Johnson.

I can rarely be bothered to go to big releases in their opening week but I made an exception with this, the latest installment in the Star Wars franchise.

I should say from the outset that while I like the original movies, I’m film studies scholar – not in the simpering fan-girl brigade. In fact, I’ve always felt a degree of frustration because I could always see how good these films should be but never seemed to hit the mark.

Having said that, I thought The Force Awakens (2015) was infinitely better than any of the prequels and reignited my interest in the series. But this was completely eclipsed by the stand alone and beautifully self-contained Rogue One (2016), which (despite a baggy first act) is a fabulous sci-fi war movie.

But Thursday I saw something really good, much better than I anticipated, and I reacted accordingly.

The Last Jedi explored complex themes – in a far more nuanced way than I expected – about family, friendship, connection and the nature of difference and subversion. Given the global political climate this past 12 months, it was an excellent commentary, and a reminder that nothing is ever just black or white.

The young cast are really very good, with Daisy Ridley and Adam Driver outstanding, providing emotional depth to their characters. They are ably supported by John Boyega, Oscar Isaacs and Kelly Marie Tran. Despite being a wee bit sentimental about seeing Carrie Fisher in her final role (yes, I did well up!) the thing that reduced me to tears was seeing the wonderful Laura Dern showing all the kids how it should be done – and a scene that immediately reminded me of her father Bruce Dern and Silent Running (1972), one of my favourite films.

If this is what Star Wars is going to be from now on, I’ll have some more thanks!

* This is an expanded version of a review that was included in Kermode & Mayo’s Film Review on BBC 5 Live (15/12/17) – and yes, I was thrilled to hear Simon Mayo read it out! *