raphaellecat Reviews

Good Time (2017)

a twisted odyssey

[10/10 · 29 March 2019]

Robert Pattinson has steered very clear from his Twilight years to give us an impressive resumé of independent films that have scrubbed off his Cullen brand and moulded him into a compelling actor. The Safdie Brother's Good Time is but a testament to his ability, giving us what could be his best performance yet. Two brothers, Connie and Nick Nikas, attempt at a bank robbery but fail and Nick lands in jail. This sets Connie to embark on a desperate and dangerous journey to get his brother out. What seems like a simple premise, quickly descends into a twisted odyssey, offering more than just a casual heist-gone-wrong flick.

Pattinson stuns as Connie Nikas with an approach to the character that will make you ponder on his motivations and lead you to question what he will do next. This is far from anything he has done prior, Connie is unsympathetic, desperate and immoral as he evades the ludicrous situations he finds himself in with but a tinge of luck. The other characters, played splendidly by mostly newcomers, paint a picture of debauchery and excess for New York's underworld, forever maintaining a true level of authenticity that often feels part- 70s arthouse and part- contemporary anthemic.

A large fraction of the success of Good Time is thanks to masterful direction by Benny Safdie and Josh Safdie and a consistently stellar performance from Robert Pattinson. A sleeper hit for 2017, all the more reason to watch it.

Roma (2018)

a dazzling achievement in filmmaking

[10/10 · 29 March 2019]

What sets Roma apart from Alfonso Cuarón's impeccable library of films is how flawlessly he's mastered his visual craft into telling his most personal story to date.

His career has sailed high and mighty as one of 21st century's most enthralling visual storyteller, giving us defining and revolutionary films such as Children of Men (personal favourite) and Gravity. This time, Alfoson Cuarón grounds himself in a different reality, with a story that embellishes in his signature visual dazzle, rendering an emotional truth to a subject matter that can only feel but personally attached to the filmmaker himself.

Spanning one year, from 1970 to 1971, Roma tells the story of a live-in maid working for a middle-class family in Mexico City. From the very beginning, Alfonso pulls you in, immersing the viewer into a real intimacy with the family that will last till the end credits. Through emotional highs and lows, the narrative takes on different directions as it sweeps, tracks and pans to give visually engrossing sequences and moments that will imprint in your memory.

Roma couldn't have been told if not for a wonderful cast of actors led by the magnificent Yalitza Aparicio, who gives the story its core and melts it with a beautifully heartfelt ending. The ensemble are perfect, showing all colours of life in an array of platitudes old and familiar.

It comes to no surprise that I give Roma the praise it deserves, with 10 Oscar nominations under its belt, it truly is the best picture of the year.

Eighth Grade (2018)

what a tumultuous period

[10/10 · 29 March 2019]

The rarity that Eighth Grade manages to capture is the very time period to which the tittle suggests, conveying how anxious, horrific, wondrous and full of change that particular chapter in our lives can be. The story centers around introvert teenager, Kayla Day, as she struggles to weave through the last week of eighth grade year. A fairly simple yet terrifying premise, depending on what may have triggered you during this relatable time, it achieves an incredible amount of specific and relevant experiences that a teenager goes through in middle school. The harsh, relentless, often times bewildering nature of kids that age is showcased in the most honest way, and much of this is credited to its director/writer Bo Burnham and star Elsie Fisher, who are catapulted into the ranks of up-and-coming faces to watch out for.

Eighth Grade will have you almost share or renew some of the feelings Kayla Day experiences which Elsie Fisher portrays with such attention to detail, whether it's her anxious pacing of excitement from befriending a high schooler for the first time or establishing her first relationship with the potential best friend during dinner, a scene that still rings incredibly true in my mind.

A story that is as tumultuous as it is beautiful, Eighth Grade is a true telling, one that deserves more than one viewing.

The VVitch: A New-England Folktale (2015)

"who be the witch of the wood?"

[9/10 · 5 November 2018]

A triumphant debut for director Robert Eggers who crafts a terrifying exercise in slow-building horror with The Witch, perhaps the year's most daunting watch.

The story centers around a family in 1630s New England as they are haunted by supernatural forces such as witchcraft, black magic and possession. The first thing Robert Eggers successfully establishes is the setting from which this takes place. An unbelievable achievement in what can only seem like the 17th century, the filmmaker captures not only the tone of such a life but incorporates a script that breathes a Shakespearean essence which further elevates the drama and heightens the horror. The Witch invitingly creates such a dreary and desolate mood that often times feels suffocatingly unbearable and yet remarkably compelling, it is as if the film itself uses supernatural forces to allure you, but that's just great filmmaking don't worry. The cast here are impeccable, consisting of only 6 actors, they immediately set an emotionality that will secure your investment for the rest of the running time. Ralph Ineson and Kate Dickie are veterans who never miss a beat, even with terrific child actors lead by a superb newcomer, Anya Taylor-Joy, who perfectly seizes the accent and blend moments of drama with horror.

The Witch is immaculately constructed, with exquisite performances and a haunting tale about the decay of a family corrupted by the witches of the woods, no pointy noses or crooked hats in this one however.

First Man (2018)

a giant leap...

[10/10 · 22 October 2018]

From a story of a promising young drummer trying to achieve greatness, to a bold contemporary musical harking back to the golden age, and now a journey to the moon, Damien Chazelle has brought us innovative projects that have struck a cord in the film industry, and his latest feature, First Man, is a giant leap forward, no pun intended.

This is a story the world knows all too well about the man who takes the first steps on the moon. Neil Armstrong has become an icon ever since that pivotal moment in human history, but this personal look at his life is what leads the audience into a dramatic journey most, I'm sure, weren't quite expecting.

Ryan Gosling's thoughtfully internalised portrayal of Armstrong further solidifies his place amongst the greatest's of screen performers, this being his best work to date in my humble opinion. The subtleties and nuances his eyes alone express give simultaneously so little and so much that the movies emotional core lies with Ryan's performance. The loss, the sacrifice and the greatness, Neil Armstrong is no mundane character and Ryan Gosling peels away the platitudes of layers this man holds on his journey to that historic walk. Accompanying Gosling is the equally impressive Claire Foy, who doesn't lose herself in this male centred world, instead heightening the already elevated drama and feeding the emotionality of a final scene that is sure to have a few tears.

Damien Chazelle expertly handles some of the more suspenseful sequences with incredible ingenuity. One of which serves as a claustrophobic nightmare where the entirety of the scene is shot in the astronauts cockpit, giving you a first person perspective of a launch that will immerse you in the most frightening way. Combined with a cacophony of sounds meticulously engineered and jaw-dropping shots, First Man is a technical marvel that will leave you emotionally strained and visually bewildered.

You Were Never Really Here (2017)

"an unconventional revenge thriller"

[8/10 · 2 October 2018]

Not having seen any of director Lynn Ramsay's work, this film might seem at times peculiar and odd, but whilst the story itself is a rather common one, the way it is told veers in a very unorthodox pattern.

Joaquin Phoenix plays Joe, a hired bounty who tracks down missing girls. His brutal techniques makes him a desirable agent, but when the next job unveils a massive conspiracy, his path is split between suicide or awakening. A thoroughly damaged and flawed character, Joaquin Phoenix portrays Joe with such relentlessness, giving him even deeper complexities and outweighing the film's abstract narrative to give a truly defined performance.

What Lynn Ramsay accomplishes here, if not for her own take of a revenge thriller, is how she depicts violence on screen. The common thread for illustrating brutality in film, in a simple manner, is to show it, however, to do it effectively, is not to show it. Lynn Ramsay meticulously stages sequences that would seem horrific to the viewer's eyes, but leaving it to the viewer's imagination causes a far more violent picture.

You Were Never Really Here is a concoction of very particular ingredients and is likely not to be everyone's cup of tea but it does leave it's mark, giving us one of Joaquin's finest performances to date, and for that reason alone, it should be indulged.

The Florida Project (2017)

a study on poverty in America

[9/10 · 19 September 2018]

This incredible journey through the lens of a small child, let's us explore the untouched curiosity and untamed wonderment of innocence as a facade behind more serious themes. Director Sean baker directs a vivid and warm story with an undeniably alive world that often does not get portrayed and is left unseen. This is a poignant look at childhood in a demographic that is much more the real America than the one we are used to seeing in most glorified films. The depiction of poverty here is brisk and distinct, we are clearly shown a side of society that runs rampant in Greater Orlando, just outside the imagined utopia Disneyland. The weight of this, however, is beautifully lifted by the freedom and joy of Brooklyn Prince's Moonee, who expertly conveys the purity of a child wanting to play and just have fun.

From this perspective, we are taken through her life as she and her little rascal friends get up to no-good and light up the screen as the foreground for this movie. The beautiful balance Sean Baker manages to create here is between what we see in the foreground (the children's innocence) and the background (surrounding poverty), always directing our eyesight but leaving us with thought provoking images and themes. This particular balance is embodied and physicalised through William Defoe's character, Bobby, who always seems to know what's going on but can only be a bystander to the world he inhabits. William Defoe further cements himself as one of the greatest character actors in the industry and gives Bobby heart and compassion.

There needs to be more stories depicting parts of America for it's truest colours, without the need to drown in dramatic subject matter. As shown with The Florida Project, there can be a balance to represent some of these despairing real life tales.

'71 (2014)

lost in Belfast

[9/10 · 19 September 2018]

In 1971, Belfast was in turmoil, the IRA had rapidly gained power and placed a terrorising front upon the city. Ensuing riots and angry mobs flooded the streets and control had to be regained. British forces were deployed to ensure some stability and safety, which is where our story begins. Infantryman Gary Hook, along with his regiment, are sent to Belfast on a mission to recover a diplomat, but not before a riot stands in their way. The growing mob's mentality develops into chaotic violence and the men are forced to retreat. All but Gary Hook, who, disorientated and lost, is left in the streets of Belfast to fend for himself.

With Jack O'connell at the helm, you are sure to witness a performance full of nuance, intensity, and incredible impulse, which he delivers in every scene. French-born Director Yann Demange terrifically depicts the world that surrounds Gary Hook, as he encounters all sorts of horrifying obstacles just to survive, gracefully excogitating Belfast's people and it's exterior. The director is in fine form, showcasing detailed sequences (including a one shot track of an explosion in a pub which is unnervingly brilliant) that give this film a unique, contemporary shine. The rest of the cast do well, but this truly is Jack O'connels feature, and it might just be one of his finest performances to date.

A Prayer Before Dawn (2017)

a brutal depiction of life in a Thai prison

[9/10 · 19 September 2018]

This true story of an English boxer incarcerated in Thailand's most notorious prison isn't for the faint of heart, it is a brutal, relentless and, at times, overwhelming depiction of life behind bars.

Unlike most of what this genre is accustomed to being, A Prayer Before Dawn sets itself apart from the rhetoric by presenting a different environment. Thailand's prisons are know to host some of the most dangerous male inmates, occupied with corrupted guards and poorly maintained facilities. This harsh domain is captured with unsparing honesty by director Jean-Stéphane Sauvaire who, apart from Joe Cole, cast relatively unknown actors to portray the inmates and the guards. The whole cast did such a marvellous job recreating life in these intense conditions, so much so, it almost felt like a documentary at times. Joe Cole is uncompromising in the role of English boxer Billy Moore, who's life story you can't help but be bewildered by. From boxing coach with a severe drug addiction to 15 years in a Thai prison. Moore struggles to survive and ends up joining a boxing club, where he is given a second chance to redeem his character and battle his addiction.

Despite Billy Moore's predicament and the horrors that follow his journey, there's a redemptive arc that wallows through. This could've been just a story about the harrowing events that occur in this prison, but instead it offers something very rare. A tale about men, who have been driven out of society by violence, anger, addiction, and who try to restore their humanity in animalistic constraints.

There's much violence to be seen here, but underneath all of this, there is a true human tale at its core.

Faces Places (2017)

cross-generational gap

[10/10 · 19 September 2018]

Time seems to be moving faster with every passing decade, with a younger generation looming around the corner to put a fresh perspective on life, art and politics. Visages Villages introduces the gap between the old and the new, as director Agnes Varda and photographer J.R. journey through rural France and form an unlikely friendship along the way.

J.R. and Agnes steal the show with their engaging philosophical chats and heartwarming intergenerational chemistry, no writer could've written a script like this. As we follow them on their travels from town to town, a deeper connection is developed not just between the two artists but between the townspeople they leave a mark on, literally. Both retrospective and introspective, Visages Villages challenges the viewer to bridge the generational gap with respect and gratitude but also to shape what has already come, to better what is to be. This thoroughly sweet watch will leave you with a gigantic smile on your face, and is likely to remain as indelible as the art work that is displayed.

The Death of Stalin (2017)

a satirical triumph

[10/10 · 19 September 2018]

Writer, director Armando Iannucci is quickly becoming a staple in political satire comedies, with a line of successful titles already attached to his name like British comedy In The Loop and HBO's Veep. With The Death of Stalin, he further cements his stature, bringing us a sharp political satire in a very sombre period of Russia's history.

The Death of Stalin follows the power struggle between the council of ministers of the Soviet Union, giving us an insight of the regime's turmoil after Stalin's death. With an impressively intelligent script that balances the comedy and drama of the current affairs, Armando Iannucci makes us laugh, somewhat outrageously, in the midst of incredible violence, never presenting it as a foreground, but rather, a background painting, letting you decide what is depicted on off screen. A stellar ensemble cast, which includes Steve Buscemi, Simon Russel Beale, Jeffrey Tambor, Jason Isaacs, just to a name a few, deliver, in near-perfect note, an outstanding array characters to full realisation. Impeccably casted and thoroughly well acted, the film breathes palpable life in every scene as the drama becomes increasingly apparent, providing a rousing third act that fully kills, literally, the beat from which the film started with.

The Death of Stalin can be regarded as the best comedies to hit the screens in 2017.

No Country for Old Men (2007)

catch me if you can

[10/10 · 19 September 2018]

The Coen Brothers are highly regarded as pioneers of modern movie making, with there own signature style of genre that is easily recognisable and always unforgettable. They've been writing, directing and producing their own projects since the 90s, creating some of cinema's most iconic characters and most compelling, original narratives. It's safe to say, that whenever they release something new, it's an event more than just a viewing.

With No Country for Old Men, Joel and Ethan Coen are on top form, spewing cinematic gold on screen that leaves the audience in pure awe. The story centers around Josh Brolin's Llewelyn Moss, who stumbles upon a drug deal gone wrong and a stash of money in a suit case, the perfect start to any narrative I say? This leads him to take said cash for himself and from there, violence and mayhem ensue in the from of Javier Bardem's Anton Chigurh, with Tommy Lee Jones' Ed Tom Bell right behind as the town's sheriff.

The leads deliver indelible performances that drive the movie forward as they chase one another with only a thin gap between them. Javier Bardem completely embodies the personification of a psychopath, leaving us with one of the most classic villains to date and a one-liner to follow suit "what's the most you ever loss on a coin toss?" The tension is palpable and almost unbearable, with trademark sequences that will be studied, viewed and enjoyed for the years to come.

Featuring the deserted, blazing landscapes of Texas with its peculiar locals, No Country of Old Men is beautifully shot, creating an emphatic world for it's characters to live and breath in. To put it mildly, No Country for Old Men is a near-masterpiece, serving as a template of the highest calibre of modern American Cinema.

Looper (2012)

closing your loop

[10/10 · 19 September 2018]

Riian Johnson's Looper is 2012's most original sci-fi film that boasts strong performances, old-school action, a distinctive style and a compelling story. It's certainly refreshing to find a movie that subverts our expectation, especially in the realm of sci-fi, a genre that can so easily flounder.

The year is 2079, time travel hasn't yet been invented but in the near future it will be, becoming highly illegal and only used by the mob, who send men from the future to be killed in the past by Loopers. In order for the mob to receive no loose ends, Loopers are tasked with eliminating their future selves, without question. This is where we are presented with Joseph Gordon-Levitt's Joe, who fails to kill Bruce Willis, Joe from the future. Time-travel is put to the side to present a character piece between the dualities of this personage. Instead of lamenting on the intricacies on the frustrating concept of time-travel, Riian Johnson offers a brilliant script serving as both a Neo-noir and a classic western narrative, hiding behind the mask of sci-fi. Both Willis and Gordon-Levitt bring fantastic performances, especially on Gordon-Levitt's part, who so uncannily impersonates Willis that the prosthetic nose was ridiculously unnecessary. They are supported by an equally fantastic Emily Blunt, portraying both the strong and vulnerable side of a mother not in control of her son (that kid is going places) and a scene-stealing Jeff Daniels.

Riian Johnson has crafted a wildly creative, utterly original and bold film with Looper, despite a few shortcomings with the time-travel concept, establishing himself as a director to be sought after. Oh, that's right, Star Wars!