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flyingmongoose
Reviews
L'Âge d'Or (2020)
Charming Sixties Throwback
There is something wonderfully laidback about Jenna Suru's love letter to Saint-Tropez, harking back to a simpler time which may or may not be shrouded by nostalgia. In many ways, France of the 1960s is the film's star and love interest, as explored by protagonists Sebastien and Angèle, which both draws (and occasionally divides) their relationship and search for artistic inspiration.
Both Paris and Saint-Tropez provide the perfect 1967 setting: a time when the French Rivera was synonymous with Hollywood glamour and Paris provided the backdrop for countless French and international films. But this never feels exaggerated or overly glamourised and, as with any good cinematic story, the focus lies primarily on its lead characters and their ensuing drama. It is here where the film gets its charm, as we follow Angèle's and Sebastian's journey in their pursuit of their dream theatrical project. Their chemistry growing throughout the film, complimented by its effortless dialogue, always feels fresh and never forced.
As a film, L'Age d'Or is refreshingly competent in its execution without being overly dramatic or succumbing to cliché. As with any pleasant trip, it's an easy-going journey with few distractions outside of its beautiful scenery. After all, who wouldn't want to escape to Saint-Tropez for an hour or two?
Soundtrack to Sixteen (2020)
Simple but Heartfelt UK Coming-of-age Film Packs a Punch
Anyone who has been through the British secondary school system within the past 20 years will find this film uncomfortably familiar. Safe to say, everyone has their own uniquely puzzling and stressful adolescent years (which, as the film highlights, school environments can't help but exacerbate) and this certainly is the case for protagonists Maisy and Ben, whose difficulties feel all too real and relatable. For me, this has always been a time in my life which I would prefer not to revisit, yet Soundtrack to Sixteen took me straight back there with a vengeance, anxiety and all.
Far from being an existential horror fest however, the film is very good humoured and Maisy's and Ben's underlying sweetness brings a playfulness which compliments the film's quirkiness and depictions of teenage angst. On the whole, it is well balanced and paced without overstaying its (admittedly short) run time and never dissolves into pretentiousness.
Whilst budgeting restrictions are apparent (and I imagine its budget was smaller than comes across) the film plays to its strengths, thanks to some excellent direction and writing from Hillary and Anna Shakespeare along with a superb cast who bring the film together. Soundtrack to Sixteen won't change the way you see coming-of-age dramas but it will renew your faith in them.
Inglourious Basterds (2009)
One of the Most Entertaining War Films for Decades
With the standard of Tarantino's films declining to surprisingly low depths ever since the release of his second film Pulp Fiction, many have debated as to whether or not Tarantino really was the immensely talented director we had been lead to believe? With his latest film, however, Tarantino seems to have redeemed himself with this new war epic.
Based around a fictional event in which a group of American soldiers and a vengeful young Jewish woman in Nazi occupied France plan to blow up/burn down and cinema during a premier, with many of the German high command, Hitler included, in attendance, Tarantino is able to bringing into play his usual directorial traits: his extensive, yet entertaining, conversation scenes; tough, though likable heroes; violent imagery; pre-recorded music scores and discreet film references - not to mention his obvious love of cinema, made especially clear through the events and technicalities of the film's cinema based plot.
Despite these familiarities, this is still new ground for Tarantino, mainly because this is the first of his films that doesn't take place during the in contemporary America (bar several key scenes in Kill Bill). Gone are the distinct fashion traits or the familiar pseudo brands that scatter his previous films that we would normally expect. Instead, he is stuck in 1940s Europe and is perhaps closer at times to directing a period drama rather than a "Tarantino film". However, he still manages to get his own distinctive edge on his WWII interpretation - strudel arguably becoming the new "Big Kahuna Burger" - and even finds room to fit David Bowie onto the soundtrack score.
Perhaps the thing which we can be most grateful for is Tarantino's attempt at redefining the genre. With most recent war films, made within the past thirty years, attempting to bring out the raw, grittiness of war and the obvious, yet constantly used, "war is hell" messages it is a relief to finally to have a war film that is made purely to entertain, à la Where Eagles Dare, Kelly's Heroes and The Eagle has Landed. The story itself is too absurd to be taken seriously yet gripping enough to be intrigued by, along with the suspense and tension constantly building to levels that would have impressed the likes of Alfred Hitchcock - pretty impressive given the audience is in on the plan and the inevitable conclusion, all they don't know is how the scenes are going to play.
Far from perfection however, the film does suffer from a few flaws, namely the Basterds. Whilst the characters in the remaining episodes seem to have their work cut out, the Basterds side of the story comes across as a forgotten and undeveloped. Their role as American soldiers dropped into France to randomly kill and terrorise Nazi's lacks the depth and plausibility to make their characters or stories interesting enough. Likewise, the characters themselves are incredibly bland to the point that even Brad Pitt struggles to bring something worthwhile out of his character, not to mention the bizarre miscasting of Eli Roth.
Despite the flawed Basterds, Tarantino has nonetheless managed to assemble a selection of memorable well cast characters. Much praise has been given to Christopher Waltz (and rightly so) for his performance as the villainous "Jew Hunter" Hans Landa, however much credit also ought to be given to Daniel Brühl as the young, innocent-looking Nazi war-hero Private Fredrick Zoller, trying to start relationship with the Jew-in-hiding, cinema owner Shosanna Dreyfus (brilliantly played by Melanie Laurent). Their juxtaposing relationship alone keeps the film alight with tension. Michael Fassbender also makes a hugely memorable performance as the charismatic British spy and film historian Lt. Archie Hicox along with Mike Myers' amusing cameo.
Whilst not quite on the same level as Pulp Fiction or Reservoir Dogs, Inglourious Basterds is certainly a huge step up from Kill Bill and Death Proof, proving that Tarantino still has much to offer us.