The Swirl World

Celebrating and Elevating Black Women - mind, body, soul and spirit!


Movie Review: SPY (2015)

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SPY Movie poster

Themes: Body positivity; body acceptance; never judge a tiger by it’s stripes; cultural differences and exchanges; there’s treasure everywhere you look; dreamers and dream deferrers; belief in oneself; enjoying the ride no matter what happens; feminism and sexism.

I took a few additional moments to find as many of the themes in SPY as possible for two reasons: one, to challenge myself. And two, because this film is NOT your typical one horse slapstick or sketch comedy. Far from it in fact – and THAT is just part of what makes it fun, truly funny, and truly a joyous film for so many different demographics.

Now, let’s get started shall we? Oh and take a deep breath as you gaze upon Jude Law in what I believe is a Navy Blue Armani Navy Tuxedo! I mean the snazz in this film is OFF THE CHARTS to be fair!!! Jude Law, Jason Statham, Bobby Cannavale, AND Peter Serafinowicz?!?! WHEW!!! Ice bath!!! Ok ok ok back to the gloriousness that is the instant classic espionage parody known as SPY.

#WhatWorks

Aldo, Fine, Rayna, Ford, Fine, Nancy, De Luca, Sharon, and Cooper. Remember ALL of these names because without every single one of them SPY would not work! But thanks to them, it works and it works brilliantly!!!!!

In case you haven’t been able to ascertain SPY is a modern-day take on I-Spy, Airplane, and maybe even the old Pink Panther films. It’s a new take on an old story where we have the phenom known as Susan Cooper, a basement agent who is living vicariously through the eyes of the man she loves (from afar but hey) the daring, dashing, apparently completely clueless Bradley Fine. Things don’t quite go as planned and very soon into the film, we find our dahling Susan in the field on a reconnaissance only mission that very few people believe she can handle!

A couple of key things to note here, the duo of Statham (Ford) and McCarthy (Cooper) is absolutely side-splitting!!! I screened this film THREE times. Why?!?! Because it’s hilarious so much so that the first two times we saw it, I laughed far too much and far too hard to legitimately be able to take notes and focus on my key pointes!

Ford is literally this over the top über spy that if you listen to him long enough you’ll realise in all his hyperbole that not only is he apparently walking around with a permanent concussion, but that his egoism is something that clearly should have gotten him killed – and you find yourself trying to figure out why on EARTH he hasn’t been!!!

Then we have the connections between Cooper and Nancy, who has now become the lifeline for Coop; that Coop was for Fine! And. Nancy has a ton more faith in Coop than Coop has in herself but it’s not necessarily for the reasons one might suspect!

You literally feel like between earpiece and spy gadgets that Nancy being Coop’s biggest cheerleader is to the advantage of all involved (well maybe except for Rayna lol). There literally feels like a tether exists between these two superstar women holding them and all the scenes they’re in together even if they’re not physically in the same space!!!

I cannot even begin to stress enough that you have to look at this film as a PARODY because that’s what it is. But that doesn’t take away from the experience because it’s a FANTASTIC one!

There are such fluid connections and moments that you have to remind yourself are meant to be superfluous for a reason: It’s a brilliantly fun film! It’s so very much about not only having faith in oneself. But also having cheerleaders whom genuinely not only know you’re capable of such great things but that they expect these great things from you on a regular basis.

I love how Crocker (Allison Janney) does her homework on Cooper rather than do the typical judging a book by its cover cliché that the world we live in puts forth far too often. Crocker gives Cooper instructions that honestly there’s NO way she can follow, and Crocker knows that even if Cooper does not. People often set for arbitrary finish lines in our lives knowing full well we are capable of crossing that finish line and running another few laps. You can start to see the confidence others have in Cooper manifest in not only her confidence level, but her movements, cunning, and finesse!

I literally could not have seen anyone else be chosen for the role of Rayna. Rose Byrne? I always enjoyed her take on her roles, she has this sort of whimsical soothing nature that you can be drawn to and it’s nearly always an enjoyable experience.

Let me clear this up now, because when Rayna uses the word “fuqqery” to describe the mayhem that is going on all around her it was clearly a #LIFERECEIVED moment for everyone in my viewing group!

Rayna is blatantly gruff, clueless, and flashy even when she has the moments of pot meet kettle – like calling Rome tacky and constantly demanding that Susan upgrade the clothes she’s wearing and dress like a normal person, etc. Never mind that Rayna’s hair was clearly sculpted by rats while she slept!

I love how you see Rayna and Susan’s relationship evolve into something surprisingly supportive. Rose Byrne is amazing and uncanny in her ability to portray a pompous arse the entire film and yet when it’s all over she and Cooper have an endearing moment. Well…sort of.

I desperately needed more screen time from Bobby Cannavale (De Luca)! Not only is he handsome and charming, but he’s a lovely sort of delirium on-screen in his avant-garde, flamboyant, deliciously bi-sexual sort of way.

He drives a $500,000 car named Renaldo and walks with a cane he clearly doesn’t need. He’s literally the perfect parody of the “King of his castle villain” that we’ve all seen and quite possibly adored at one time or another in our cinematic lives. And he’s an absolute treasure that I genuinely wish had more screen time because he owns it when he’s on it!

And Nancy (Miranda Hart) and 50 Cent (AKA FIDDY)?!?! Their interactions are hilarious on camera so I can only imagine what it was like between takes! In fact I suspect this entire shooting schedule had to have mini “hysterics breaks” in between takes because there are more than a few dialogues where you know all the players are fighting for their lives to hold it together and keep the takes from adding up! But sometimes it’s simply not possible no matter what and I know those moments were a blast for the cast and crew.

Just when you thought that there would be a slight lull in the film, in arrives literally like a wrecking ball (sorry Miley) is Aldo played phenomenally well by Peter Serafinowicz. He is Susan’s contact in Rome, and rather than be the typical Italian super charming parody, Aldo is blatantly sexist and so volcanic when his attention is focused on Susan, that you literally want to slap him and kiss him (ok more than a few times) all at once!

Aldo is such a key to this puzzle, because while Susan is undoubtedly the spider at the centre of the web, he is her anchor in that he serves to continue to build her confidence in her abilities and to grow her self-esteem to be WAY high! Aldo’s sexism is such on display but you watch Susan handle him so adeptly that even though he never underestimates her in ANY way, the tongue thrashing she gives him for his overtures makes you think that he has.

He sees her so different from how she initially sees herself. His being grabby and clearly a candidate for a sexual harassment lawsuit isn’t something that takes away from what Cooper is trying to accomplish, nor does it take away from the film in any way either. We find ourselves enjoying Aldo, even as we continue to fight he and all of his grabby hands off! You know, the sort that’s harmless yet oh so helpful! lol!

#WhatDoesNotWork

Nothing. It’s like I stated earlier, without having ALL the players in this film, it would not work. Because we do have all of them, it works brilliantly and entertainingly well. All of these people literally are key parts of Susan Cooper’s web, and her handling it one situation at a time and always thinking on her feet means that as the film progresses, they’re strengthening it fibre by fibre.

If you walk into the theatre preparing to see James Bond as opposed to Susan Cooper, you’re doing yourself a disservice because Cooper, Susan Cooper, is so much more fun and enigmatic than any old Bond. Bond is the debonair, while Coop is the dynamic unforeseen, invisible twist the makes SPY so much more of a rip-roaring, side-splitting EXPERIENCE than a film.

#SheCritiquesIt #WhatWorks #WhatDoesNot

A Spellbinding, Mesmerizing, Life Changing, History Making, MAGICAL FILM! And YES, She Critiques It!

 

Joyll CambridgeOur Resident Movie Reviewer Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

 

Be sure to “Like” The Swirl World on Facebook and subscribe to the podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio. You can also hear us on PlayerFM!

Copyright ©2015 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, The Swirl World Inspiration Daily™, Swirl Nation™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster of SPY (2015) obtained from official Facebook page. All rights reserved.

 

 

Joyll’s Movie Review: San Andreas (2015)

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Dwayne Johnson_SAN ANDREAS_COVER

Themes: resolution, strength, adversity, climate change and the importance of science; ignorance, animosity, redemption, love, forgiveness, dealing with loss, RESILIENCE and FAMILY.

You’ve never seen someone tipping the hat and thought how BAD ARSE that was UNTIL NOW.

Let me start by saying you HAVE TO SEE THIS FILM IN IMAX 3D if it’s available or at least in RPX!!! The sounds, the sensations are absolutely part of the overall experience!!! This is exactly the type of film these theatres were made for!

The peril is meant to have a direct impact on your viewing experience AND IT DOES. You need to feel it in your seat, like you feel it in your heart! (FYI my heart rate hit 138 even the second time we screened this). It NEVER ceases and that’s an integral part of the film. When something this catastrophic occurs, there isn’t a moment’s peace until it is over and either we rise or we fall.

Oh and let me just say I LOVE Ollie, played supremely by Art Parkinson. We are introduced to him quite early in the film and what a brilliant casting! He’s endearing as the voice of reason and highly intelligent for such a young age! JOY! JOY! JOY!

And Hugo Johnstone-Burt, who plays his dashing older brother Ben, is also a welcome addition to this cast and on Hollywood’s radar. These two have extremely bright futures ahead and their sibling chemistry is absolutely palpable and fun to watch!!!

To Carla Gugino: how do you kiss a man who is that gorgeous and not faint?!?! Ok, ok, OK, but honestly, when you pulled your Muma lioness claws out when it came to your daughter, I FELT THAT!!! RORRRRRR!!!! Ok, ok….back to business.

Ok…now. Let’s get in on, shall we?

#WhatWorks

First, let’s talk a bit about THE SCALE of this film.

Oftentimes with disaster flicks like these, we aren’t given an idea of just how not only difficult an undertaking such a large-scale film is, but also we aren’t given the necessary panoramic and wide shots necessary to understand the SHEER SIZE of such a film.We aren’t given the impact the disaster truly has not only on the areas immediately affected, but the outer-lying areas.

San Andreas one ups nearly every other disaster flick because as a viewer, you’re not only educated on HOW the situation is going to deteriorate, but you’re also given a true scope of ALL who will be affected and WHY.

There’s literally an implicit domino effect that not only does not allow for a moment’s peace, but you are given a clear sense of literally how one domino topples the other.

It’s difficult to obtain such Nirvana in a film like this because so many people are jaded that they deem themselves experts on what’s plausible and what’s so-called silly or over the top. In disaster films there often a sense of being provided just the right out or escape if you will at the right time.

Thankfully in San Andreas, you aren’t given what you need to survive and overcome without consequences.

Can I just say; having watched Dwayne Johnson’s growth and evolution into a bona fide action star has been an absolutely wonderful experience! If you found yourself question whether or not he is a bona fide action star, you CERTAINLY have your answer with this wild ride of a film!

He gives you lowest of the low, highest of the high, love, anger, sadness, strength (both internal and external) and everything in between. It’s nice to see such a handsome face have its layers peeled back and there before so much more dynamically wonderful things underneath.

He has a daughter (she’s adorable, FYI) and for that reason alone you could see what his motivations were to not only make this film his best on his best day, but to take on the task of showing the deepest levels of a Father’s love for his children. In other words, The Rock is here to stay, and that is GLORIOUS in and of itself!

 

Paul Giamatti ladies and gentlemen! In a film where hope can be in extremely short supply, one that can easily overwhelmed with action and mayhem, we have Lawrence (a bull’s-eye with Paul Giamatti), a brilliant scientist who’s been working a long time with his partner Kim to try and figure out a consistent way to predict earthquakes.

What I love about Giamatti in this film is not only does he have the uncanny ability to make the sometimes problematic science in the film WORK, but that he also has the ability to bring a rallying energy into the film that can be difficult for people of science to handle in such a scenario because they KNOW what the worst is that can occur generally.

They’ve envisioned these worse case scenarios in their minds and the outcomes are NEVER pretty. Giamatti’s Lawrence from the beginning on the film is tested on such a scale that few can imagine the strength required to pass such a test.

There is unbelievable sacrifice that Giamatti does a surreal job of showcasing. His heart and his failures (of course they aren’t really but to him they surely feel that way) pull you in and his science and pure determination to change the fate of so many millions of people keep you there.

#WhatDoesNotWork

No world leaders? No message from the POTUS regarding the quakes, the effects they had and will continue to have? No direct acknowledgement of how ill prepared we truly are for such an event?

I feel like there was so much more to this film that ended up on the cutting room floor. What a shame, because there are few things that would normally occur during such a cataclysmic event that would be irrelevant.

We are told about the effects of the quakes on California and the East coast (ripple effects), but with a natural disaster on such a grand scale that potentially could have moved the state of California 47 feet away from the rest of the country on the San Andreas fault line – why on earth would you NOT have an announcement from the POTUS acknowledging not only those whom lost their lives in the disaster, but also thanking those who responded to the call for rescue and recovery?

Why not allow the POTUS to acknowledge the strength of the people affected and the sense of community and empathy that these disasters bring about? These things tend to galvanise us in a way that we just don’t seem to move about at any other time.

This isn’t really a criticism so much as a note about a missed opportunity. I think that would have served not only to properly close out the film, along with creating a true sense of what if that should have been on the minds of every viewed as they were leaving the theatre.

Throughout San Andreas there is a sense of NEVER GIVING up.

From the scientists whom are trying (through their hard work) to give us prior warning to us all, to the people within these disasters attempting not only to survive but to reach out to others who need our help and guidance, to the first responders who lay their lives on the line nearly every day, often for people they don’t even know.

I believe the exceptional job is does in conveying this story’s message from the pointe of view of all these people, is something so rare, that it should be studied, revered, celebrated, and most importantly ENJOYED.

Yes our enjoyment may be tenuous at times if only because we realise the true implications of what we are seeing and find ourselves pondering the realities of so many what ifs in so little time.

Spellbinding, Mesmerizing, Life Changing, History Making, MAGIC. FILM. And YES, #SheCritiquesIt!

 

Joyll CambridgeThe Swirl World’s Resident Movie Reviewer Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

 

Be sure to “Like” The Swirl World on Facebook and subscribe to the podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio. You can also hear us on PlayerFM!

Copyright ©2015 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, The Swirl World Inspiration Daily™, Swirl Nation™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster of San Andreas (2015) obtained from the San Andreas Facebook Page. All rights reserved.

Joyll’s Movie Review: Mad Max: Fury Road (2015)

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Mad Max

“Aunt Harriet used to call them anti-seeds, plant one and watch them die!”

One of the most amazing things you must immediately realise about Mad Max Fury Road is that for nearly the first 20 or so minutes Tom Hardy speaks VERY little and yet, conveys SO MUCH!

Not only does that take talent, but it also requires fantastic writing as well as directing. As a director you HAVE to be able to give the film the flow necessary to have one of your top draw co-stars relay his true emotional state, his true energy from scene to scene WITHOUT SPEAKING for quite some time!

After having watched those first 20 or so minutes I was beginning to wonder if that was all that I could find that makes this cinematic marvel a masterpiece. Knowing George Miller, Tom Hardy, Charlize Theron and their talents and gifts as I do, I am over the moon elated to say, I was indeed INCORRECT.

Now, let’s get to it shall we?

#WhatWorks:

Feminism and Capitalism. Two key concepts in MMFR. In fact, I would surmise, the only concepts that carry you through the film and into that slice of Nirvana I believe every filmmaker hopes to achieve and every filmgoer hopes to see.

Why? What is it about these two important issues that George Miller seems to have a brilliant mind to display so well on-screen, scene after scene, dialogue after dialogue that you find yourself talking about them in vivid detail days later? At initial glance, one might think that MMFR is solely a commentary on environmentalism and man’s brutal abuse of our planet. And while that is a central concept, it’s not what makes MMFR such a phenomenal movement in film.

There are some extremely powerful, firecracker, highly intelligent, and stubborn women in MMFR! In fact, feminism is a concept that is amazingly front and center nearly the entire film. In this dystopia, in this barren wasteland, you see the strength of will and the will to survive portrayed so gallantly in every central character. It’s necessary yes, but the manner in which is showcased makes you feel exactly WHY it’s necessary.

You see so many women kick arse in this film and make no apologies for wanting not only to survive, but to live a life filled with a greater sense of humanity and hope. They fight for what they want, for what they believe in and there’s no leaning in, no apology for valour and brutality. This film absolutely obliterates the Bechtel test literally from almost the beginning of the film and handles THAT task so masterfully, you wonder why it’s taken this long to have a film be able to dismiss it so handily that didn’t appear to be pandering!

Capitalism….’do not my friends become addicted to water, for it will take hold of you and you begrudge/resent its absence’…

One of the many things George Miller has handled so dynamically well in this film is the conversation about capitalism. Greed, lack of empathy for the destitute, and lack of plausible solutions about how to get more people working at jobs that pay them livable wages that will actually allow for them to invest their hard earned money back in the economy to help it grow – these concepts are key.

There’s even a milking farm which is a very mirror image metaphor for the favouritism known as capitalism. Immorten Joe is not only a metaphor; he’s also an outcome, the metamorphosis of all that indeed can be wrong with a capitalist society. He’s the epitome of how trickle down NEVER works and Miller staged these scenes that show this so well, you find yourself reflecting upon just how accurate and scary these scenes truly are. Indeed a mirror reflection of life for most of the planet.

Greed…….chastity belts, his ‘property’, “coming to count the cost”…”WHO KILLED THE WORLD?” “Perfect in Every Way”…..”Back then everyone had their fill, back then there was no need to snap anybody”…..Splendid…

The world has indeed gone MAD. All of it. And in such a place survival is the order of the day. EVERY DAY. But what happens when survival is no longer the aim, but the assumption? As in, those who assume because not only do they have more, but that they have better stature, better location, better physicality, that no one else’s needs, desires, and dreams need be heard or addressed? You end up with people like Immorten Joe and The Citadel.

There’s a tremendous presence of Xenophobia, Genomics, and elitism from those above, and an immediate requirement of the ultimate sacrifice for those below. Never mind who or what is undoubtedly responsible for the status of all in Mad Max’s world, those who PAY the cost are nothing like those who COUNT the cost.

Hope……..witness me, all chrome, out here EVERYTHING hurts….the seeds…the green place of many mothers….by his hand we will be redeemed… As a viewer into the world of Mad Max, you’re introduced immediately to the cult of desolation that is Immorten Joe and The Citadel.

You right away meet the WAR BOYS (that’s in caps for a reason I promise). You’re introduced to the cult of desolation disguised as the cult of hope. You hear proclamations which are genuinely requests like “witness me, I need chrome, and only by his hand are we redeemed.”

The WAR BOYS are so indoctrinated into The Cult Of Immorten Joe and The Citadel, their greatest fears are not dying, but dying with no one to witness them thus not being allowed to rise and live again. There is an extreme sense of Zealotism that would frighten many, if we hadn’t already seen something very similar in today’s time with religions and other avenues of faith.

It’s clear, that mankind has not learned its lesson about how to better handle the doctrine and its continued use by many to simply control others and elevate or indemnify themselves. Even Furiosa and the five wives have a sense of hope, dreams, maybe even memories. They’ve decided their fates are to be their own and they risk life and limb to make those dreams a reality. The land of the many mothers gives a sense of hope where before for at least 7000 days, there has been none. There’s no way anyone could tell the Furiosa Five that they’re not deserving or worthy. It’s doctrine, flipped upon its head.

Humanity……. I am the one who runs from both the living AND the dead…..the seeds… Max makes a heart stopping testament very early in the film that cannot be ignored. “I am the one who runs from both the living and the dead.” This serves not only to give you a strong back story about Max, but it also manages to tether you to the humanity that he holds deep inside, even while dealing with survivalists whom now only showcase the WORST in humanity.

Max is a MAN. Yes there is chaos, yes there is insanity, yes the world has indeed gone mad, but MAX IS A MAN. And no matter what you see, no matter what you witness, chromed or not, nothing has taken that away from him, YET.

There is also a brilliant introduction of the seeds. Not only do they signify HOPE but they signify GROWTH. Possibilities. Remember this from the beginning? “Aunt Harriet used to call them anti-seeds, plant one and watch them die!” This refers to a common theme in the film that is the ANTITHESIS of seeds which bring change, essence, energy. The antithesis are DEATH, DESOLATION, DESPAIR. I am reminded of one of my favourite quotes, which is such a strong parallel here that I had to take more than a few moments to gather my thoughts. “They wanted to bury us, but they forgot we were seeds.” Every single moment of survival and triumph in MMFR is more water for the seeds, the people, of this destitute wasteland.

Redemption….For Furiosa, the dangerous journey to the land of many mothers isn’t self-serving in a way most others would think. For her, every single one of those 7000 days (plus the ones she can’t remember) has been sheer torture, sheer hell on earth. Her ancestors, such strong women, such fighters of injustice, and symbols of RENEWAL have guided her to this very moment. To this very crossroad.

For Max, his failures have meant the worst consequences anyone could imagine. And until he atones for those failures, there will be many days of nightmare saturated sleep, no uplifting of spirit, no self-forgiveness. When he begins this journey, it’s solely about survival. When this portion of the journey ends, it is about counting the cost, planting the seeds, and healing his broken spirit, heart, and world.

The brilliant fact that Tom Hardy’s Max, says VERY little during the entire film, and yet manages to convey so very much about not only how he got to this pointe, but how the rest of humanity arrived at such a parched, chaotic, hurtful and dreary existence.

#WhatDoesNOTWork:

I think the fact that we’ve had so many apocalyptic/dystopian films in the past 10 years is the sole strike against this perfect, awe-inspiring masterpiece of cinema. Having screened it twice and being an enthusiast from the first film which debuted over 30 years ago when I was a small child, I watch the reactions and listened to the discussions of others in the crowd. The majority of those viewing the film were white males in their late 30s-late 40s and their wives, many of whom had to be dragged into see this movie. (Ironically enough, everyone seemed to actually enjoy MMFR and appreciate it for what it is, as well as the changes in current film making techniques that it will undoubtedly bring about).

But I couldn’t help but notice many in that target demo, whom although they enjoyed the film, had far too many pivotal moments go over their heads, and clearly were suffering from dystopian/apocalyptic fatigue. That’s a shame because this pillar of symphonic cinematic achievement is kilos ahead and above every dystopian/apocalyptic film since its predecessor.

It’s certainly worth a second, third, or even fourth look in theatres. There’s something new, interesting, different, and game-changing every time you screen it. It’s an absolute #MUSTSEE a full FIVE STARS and something you will find yourself discussing because if it’s timeliness for years to come.

And “Oh What A Lovely Day;” the flame-throwing guitar is indeed REAL!!!

#SheCritiquesIt #WhatWorksWhatDoesNot

 

Our Resident Movie Reviewer Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

 

Be sure to “Like” The Swirl World on Facebook and subscribe to the podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio. You can also hear us on PlayerFM!

Copyright ©2015 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, The Swirl World Inspiration Daily™, Swirl Nation™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster of Mad Max: Fury Road (2015) obtained from the Mad Max Official Facebook page here. All rights reserved.

 

Joyll’s Movie Review: Maggie (2015)

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Maggie_(film)_POSTER

There are THREE immediate things that you need to know about MAGGIE (2015).

First, this film is NOT about Zombies. NOT. AT. ALL!

Second, this is undoubtedly Arnold Schwarzenegger’s (who executive produced this film, FYI) FINEST PERFORMANCE OF HIS CAREER.

And third, it’s a film you’re going to need to see at least TWICE (and YES, I’m doing my second screening literally right now as I’m typing this intro) in theatres, to get the full scope of what it is that you’re watching. You’ll also learn WHY is extremely thought-provoking, mentally draining while be enlightening and uplifting, and why we need more films such as this one.

Let’s handle this, shall we?

#WhatWorks:

“They Don’t Separate The Phases.” -Trent (played brilliantly by Bryce Romero whom I wish we saw more of!)

Here are a couple of really fantastic things that I need to pointe out right away:

This film is NOT a zombie flick. It’s NOT an action film (it does have action but NOT much).

Some really key stars in this film that must be immediately paid homage to? Well, the unassuming yet perfectly chosen scenery, the “couldn’t be more perfect” location, the luminescent cinematography, AND the MAKEUP.

In fact, I fully expect Oscar nom’s for makeup and cinematography as well as potential Oscar noms for both Schwarzenegger and Breslin. (Work with me here I promise I will explain!)

Maggie’s magic is in all of the above, and yet you’re reminded constantly throughout the film, that an improper casting could sink this ship before it gets a chance to swim. Thankfully, that’s not an issue here. As I’ve stated before, there can be no doubt this is Schwarzenegger’s finest performance, but why or even more pressing, HOW?

Maggie is the story of a Father’s limitless love for his daughter and the bond that they carry as reflected in everything they have endured together.

It is ALSO a brilliant and extremely thought-provoking film about END OF LIFE. I know what you’re thinking. But ‘wait, isn’t this a film about zombies?!?!’ It is absolutely essential and adamant that you understand that this film’s message, its moments, its premise, its aim, ultimately, is to get people talking about the END OF LIFE.

What do I mean by “end of life?”

Well in America at least, there are thousands upon thousands of discussions nearly every day held between family, doctors, nurses and other caregivers about a patient’s ability to make their own choices about how they want their life to end. There is a form several pages long called an Advanced Directive or Durable Medical POA which families sit through and often agonise over because no one wants to be the one to ‘pull the plug’ on a beloved family member. This form has created many a riff, many a chasm in households for a very long time.

Caregivers will often tell you that if your loved one could speak for themselves, they would not want to be hooked up to any life support for in some cases ANY length of time and you need to respect their wishes. This form is a way of ensuring what those wishes are, and how they are to be carried out.

One of the key concepts in Maggie is that we entrust our family members to make the right decisions about caring for us, even when we can’t care for or speak for ourselves. And just how difficult if they are indeed capable of making such decisions, is it for those decisions to be carried out. And Maggie literally slaps one in the face with just his difficult times like these can be for ALL of those around us, not just our immediate family.

Now, to touch upon the castings for Wade (Schwarzenegger) and Maugerite (Breslin). This film absolutely requires kinetic energy and synergy in chemistry in order to work. You absolutely MUST believe that Wade and Maggie are indeed a loving Father and his angst-ridden yet rudderless (understandable under the circumstances) teenage daughter.

It’s extremely uncanny how masterfully this relationship is portrayed. These two sell it so gut-wrenchingly well that you often find yourself attempting to counter their brilliance with, I know they aren’t Father and beloved daughter in real life but….

You are fed the angst, the sadness, the anger, and the inevitability so effortlessly that you are on keel with these characters from title sequence to wrap/credits. You feel what they feel, you see what they see. Their pain rips through you like an asteroid colliding with Earth. It’s indelible mark upon your spirit forever.

Another thing I have to pointe out (because I haven’t been able to think about little else since first screening this film), is the fact that the screenwriters clearly researched not only how a virus such as the necroambulist virus would wreak havoc on the human body, but they also paid keen attention to the fact that in the late 90s to early 2000s, disease protocol and medical advancements in this country would NOT have been able to stop such a virus.

There’s no computer tracking, they’re actually using rotary telephones to communicate (electricity seems to be minimally available), and there’s no acknowledgement of the scope of the virus and no way of knowing just how many people were infected and who patient ONE would be.

The symptoms that are shown in Maggie and others (like Trent), are almost EXACTLY how such a virus would affect the human body. I must admit I’m a wee bit awestruck by that attention to detail. From the pale skin to the necrotizing of the skin and limbs, to the decay of one’s eyesight or the infected wheezing heavily because the body is destroying its own tissue (in this case the LUNGS).

They even correctly show that the blood of an infected person would be darker than the non-infected person because the red blood cells are also necrotizing, causing the blood to become DE-oxygenated.

The devil is indeed in the details here and they have done their research and that in itself gives this phenomenal film just one of its 5 stars. I got more than a few chills screening it! Bravo!

Another wonderful but unfortunately short-lived gem in this masterpiece is the connection between both the infected Trent (Bryce Romero) and Maggie. As far as is known, Trent is the only other infected person in the film who still has a functioning brain and is in control of his own body. The younger the infected is, the faster the metabolism, and the faster the virus consumes the human body. So it was a welcome sight to see another infected that Maggie could not only relate to as his friend, but also see the anguish and inevitability that a parent or significant other must deal with watching the one they love fade away.

We are given a sense of the love and compassion that having such a caring but firm Father that Maggie has in Wade, and why the grey areas of life are such minefields. Trent helps to show that the humanity in the infected is still there, and if one is strong willed enough, that there needn’t be surrender.

Fighting until you’re no longer you is indeed possible, even if the others looking at you don’t understand that this is what you’re trying to do. Again, another end of life concept that this truly endearing, soul-stirring film does a brilliant job of making the centre of discussion.

There is such a humanity that is reflected in Wade’s eyes that catches you off guard quite frequently, again causing one to question if that is indeed Arnold Schwarzenegger on-screen. He does such a marvelous job of conveying every emotion, every whim, every dire moment of desperation. Every other character that he interacts with seems to reflect back his energy all the while feeding off of it like a vampire. The scenes he’s not even in still carry his essence from scene to scene, act to act. It’s almost as if his soul is present on constant watch standing sentry, while his body has left in aura-like footprint.

This film is about family, it’s about the shades of grey, it’s about community and how easy it is for others to turn against each other in desperation. It’s ultimately one of the best in-direct discussions about End Of Life that I’ve ever seen on-screen.

One could say that may not have been the film’s ultimate aim, but I don’t believe so. The sharp thought pointes that you are stuck with from beginning to end simply must mean so much more than one initially feels. They have to, in order to appeal to a viewer’s sense of humanity and survival in utter chaos and sheer terror.

#WhatDoesNotWork

If this film has an Achilles heel, it’s Caroline (Joely Richardson). And no, it’s not an issue at the actor level. Not at all. You expect Caroline to be the vacillating source of dissension from the beginning. You see the level of commitment to what must be done, fading in her steps from onset. To be fair, she has a lot to lose. There are times when you feel like she’s been shoehorned into a moment, which would normally be a welcoming sight but they fall flat.

She’s written with quite a few uncharacteristic moments that certainly don’t support the unified narrative you’re feed from scene one. When she’s in scenes with Wade, he carries such a big stick that she nearly fades completely into the background; she doesn’t hold her own. She’s written to be weaker, unsupportive, etc.

I understand exactly WHY this was done, but you almost wish her moment of clarity and recognition, had happened sooner so that you can see not only dissension in the ranks, but genuine tension. Does it detract from the film? In my opinion, NO. But it doesn’t add value to it and I really believe it needed to in order to tell the story in the best light and path possible.

In Conclusion . . .

So many expertly placed pieces ultimately create such a beautifully constructed puzzle. Rarely do we get to see such a film. And it reminds me so very much that we need to see more of them! More films that leave their mark upon us in such a way that we won’t soon forget. More films that are worthy of such discussions and potentially a few arguments. More intelligent, thought-provoking, soul-stirring, mind-blowing, small pebble making huge waves types of films.

They stay with us because they are meant to. They reside within us, their marks forever seared into our skin, forever etched into our hearts. As human beings, we are indeed capable of great things. If we chose to accept that and go forward in that path, a film like Maggie is simply the tip of the phenomenal iceberg.

An absolute #MUSTSEE. A true 5-Star film.

#SheCritiquesIt #WhatWorksWhatDoesNot

 

Joyll CambridgeJoyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll is our Resident Movie Reviewer. Look for more movie reviews from Joyll!

Be sure to “Like” The Swirl World on Facebook and subscribe to the podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio. You can also hear us on PlayerFM!

Copyright ©2015 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, The Swirl World Inspiration Daily™, Swirl Nation™, All rights reserved. Photo of Joyll Cambridge used with permission.

Movie poster from the movie “Maggie” obtained from “Maggie (film) POSTER” by Source. Licensed under Fair use via Wikipedia – http://en.wikipedia.org/wiki/File:Maggie_(film)_POSTER.jpg#/media/File:Maggie_(film)_POSTER.jpg.  All rights reserved.

Joyll’s Movie Review: Furious 7 (2015)

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Furious 7gallery_01_main

Having screened this film THREE times since it’s opening, it’s not lost upon me that I finally see my way clear to review it objectively – on the very same opening weekend another massive blockbuster is set to take Furious 7’s BILLION $ crown (which I correctly predicted it would).

Having seen this film opening night and a few more times since then, you may ask WHY has it taken me so long to review a film I absolutely LOVE? Because with every earlier screening, I simply bawled like a 14-year-old being dumped by her boyfriend a few weeks before prom.

This film is such beautifully moving and fitting tribute to the late, great Paul Walker. My generation; we grew UP with The Fast and The Furious series.

The characters are legitimately people who so many of could relate too and empathise with in such a profound way. I didn’t feel as though I could be objective enough to pick this film apart and speak about what works, and of course what does not.

So without further ado, here’s to you Paul. I’m along with you for one last ride. See you at the finish line!

#WhatWorks:

Furious 7 literally opens up with a BANG, or maybe I should say SEVERAL bangs. Of course, with this series is there really any other way for it to open?

And while the bangs are expected what’s really brilliantly done is the immediate yet VERY strong connection that has been established between Hobbs (Dwayne “The Rock” Johnson) and Gisele (played by Gail Gadot). There is a chemistry there that is just slightly overly inappropriate in a GOOD way if you will.

Of course, almost instantaneously we also meet Deckerd Shaw (Jason Statham who is so good at being a villain, it’s well, SCARY). Shaw’s bang of an entrance serves basically to set the tone for this film. There are NO moments for mercy, and there’s absolutely NO turning back.

Now if you have seen the entire series (except Tokyo Drift, which I actually liked) you know that Dom and Letty are linked in love for life. There are so many warm moments throughout this film between the two of them, and then we find out that the issues that failed miserably in their attempts to break them apart are still driving a prominent wedge into their relationship.

They’re literally trying to get re-acquainted with each other, with Letty’s still severe bout with amnesia. Vin Diesel does an extraordinary job of conveying the strength he’s had to use in order to weather this storm and be with Letty until the end, whatever that end may be.

Your heart has moments where it’s genuinely heavy because you can see him wanting Letty to be HIS Letty, and yet your heart is even heavier when you watch his heart visibly breaking when Letty’s eyes don’t reflect back at him in the way he desperately wants them to. As these two have aged through the series, you genuinely are pulling for them. Their chemistry and connected energy are matched by very few onscreen couples.

Brian O’Connor (Paul Walker) is trying desperately to settle down into married with kids life with Mia (Jordanna Brewster) and baby Jack, and he finds himself longing for certain parts of his past, all while clearly having eyes on the future.

It amazes me how Paul and Jordanna have forged such a strong bond that there really isn’t much effort needed to sell their bond as husband and wife on their way to a house with a white picket fence, football Mums, carpools, and 2.5 kids. Many people would consider that a happy life, a life without any unfulfilled wants or desires and yet…Bullets.

The battle between Dom and Shaw is one of such epic proportions that it spills over into other scenes. Depending on whom you ask, this can be a positive or a negative. I actually find it a positive because anything that gives me more access to seeing more of Jason Statham and Vin Diesel is a TRUE GIFT! :-))

Another really solid theme that carries well in F7 is the transformation and growth of Tej (Chris Ludacris Bridges) and Roaman (Tyrese Gibson).

Tej is not the same ole man geek. He’s still brilliant as ever but there is a new side that can only be described as osmosis of Alpha male-ism from hanging around Dom and Brian so much. Lol!

But you also see that the things that they’ve experienced and the people they’ve lost have rendered a great deal to shaping and encouraging Tej’s growth. There’s a humanity there that has always been just below the surface that we finally get to see in full bloom and it’s a true pleasure to watch.

Character growth through a series is ESSENTIAL and when screenwriters or show runners don’t know how to portray that on screen, we’re left with the dreaded hideous mess. That absolutely isn’t the case here at all and I’m overjoyed because of it. Roaman on the other hand, well there’s growth, but ultimately, Roaman is still Roaman and in this film, that’s ESSENTIAL and absolutely a blast to see!

One of the Achilles heels of the FF series has been that the writing hasn’t been strong enough to make the Alpha male that is Vin Diesel disappear into the screenplay. In my opinion, FINALLY we are carried through the film in Dom’s world because there is ACTUAL growth – actual movement; actual fluidity in motion.

Finally, the character traits that make Vin Diesel the only man whom could ever play Dom, are strong enough to remind us exactly WHY no other actor could ever play Dom. I think Vin Diesel’s BTS interview where he talks about the importance of them putting everything they had into this film (while Walker was still alive of course) so that if indeed it was the last film in the series, that it would be the best ever. Mission Accomplished!

Now, for the part I dread (or should):

#WhatDoesNOTWork:

Literally the only issue I could find with this film is there simply isn’t enough Dwayne Johnson in it. Why? Because he’s the Calvary, and we’ll always need more Calvary in our lives. He has a certain charisma to him as Hobbs that we don’t get to enjoy as much of, as we really should. Oh pooh! Have to figure out how to rectify this situation. :-))

The key reason that I was adamant about being able to review this film objectively was because I wanted to be able to step away and respect it for what it is and possibly rib it a bit for what it isn’t.

What it IS, is FOR PAUL, and that’s bloody brilliant enough for me. RIP Paul, we’ve grown up with you and this franchise, and trying to imagine it continuing without you in it just isn’t in my capabilities right now. Maybe later, maybe not. FOR PAUL.

#SheCritiquesIt #WhatWorksWhatDoesNot

Joyll CambridgeJoyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll is our Resident Movie Reviewer. Look for more movie reviews from Joyll!

Be sure to “Like” The Swirl World on Facebook and subscribe to the podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio. You can also hear us on PlayerFM!

Copyright ©2015 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, The Swirl World Inspiration Daily™, Swirl Nation™, All rights reserved. Photo of Joyll Cambridge used with permission. Gallery photo from the movie “Furious 7” obtained from Furious7.com.  All rights reserved.

 

Movie Review: Still Alice (2014)

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Still Alice Movie PosterThose of you whom have the INSANE pleasure of knowing me ITRW (in the REAL world, lol) know that I’m a tremendous fan of Julianne Moore and her body of work.

You should also then know that as an admirer of hers, any performance that she puts in front of me, I’m going to be a bit tougher on. I expect greatness from her because that’s generally what she gives.

So here we go…..

What Works:

Some films in the introductory scene try to drub you over the head. Some of them try to calmly pull you in and gain your attention that way. And others sort of don’t really know what they’re doing and sort of just throw something on screen and hope you’ll figure it out!

Still Alice, IMO is a mixture of the three! (I know right?) The thing is, as strange as that sounds, IT WORKS. You are drawn to Alice and you immediately empathise with her situation, although you may have NO idea what it is at the time! You instinctively are aware that something is wrong.

HORRIBLY wrong.

Those of you who are or are not fans of the Twilight series are no doubt very well acquainted with Kristen Stewart. The great thing here is, this is far and away NOT the Kristen we’re used to!!!

There’s enough flexibility in the Still Alice screenplay to ACTUALLY allow this dynamic young starlet the ability to shine. There’s so much emotion, anger and angst, but it doesn’t take away from her scenes with Julianne at all!

In fact, everything, including her facial expressions, PLAY NICE together! Genuinely entertaining and you find yourself warmed up to the reality that Lydia (Kristen Stewart) and Alice (Julianne Moore) are going to need each other more NOW than ever, and because of the connection between the two, you’re THRILLED about that!!

Let me pause here for a moment because, I need for people to know something. A realisation that it literally took me TWO viewings of this film to gain an understanding of. I must admit when I first realised it, I questioned my faculties (ironic, I know) momentarily.

I did I know but…Alec Baldwin does NOT get enough credit for the very strong performance he put into this role! Why?!?! Because he’s the poor step standing next to Julianne Moore (who is now the OSCAR WINNING Julianne Moore)!!!

We must remember that a husband who finds himself in such a dire situation with a woman whom has been his true helpmate, has options. He can leave, abandon you if you will. He can continually be in a state of denial. He can even start out gung-ho and then diminish, knowing that as the situation becomes more dire, it gets tougher.

I get the feeling that Alec would NOT have taken the role if his character had been slated to do ANY of those three! Why?!?! Simply put because it’s so much more challenging, so much more natural, so much more of the requirements of a STRONGER male protagonist to DO THE RIGHT THING.

Not only do we feel him and the choices he makes EVERY step of the way, but we also feel empathetic when the seeds of doubt creep like vines as he is forced to make the decisions he HAS to in order to take care of his beloved wife the best way he knows how, all while being a solid role model to his ever-growing close family.

Their interactions are GENUINE. There is a solid chemistry there between these two and every emotional change, every peak and valley they experience is indeed a joint venture.

Now, For What Does NOT Work:

Well there isn’t much. HOWEVER, I do have two things. The passage of time for an Alzheimer’s patient is something of such importance. There are dates everywhere, calendars, reminders, etc. And while Alice has those things, she mostly creates them for herself which isn’t really realistic in memory care.

Between doctors and in home care providers, memory aids are available serving as a joint venture between patient and caregivers. I felt like they didn’t make it a priority to include Alice’s caregivers in these types of situations, so you get a sense that she’s doing all this by herself when it’s legitimately NOT possible that she is.

Another issue I have regarding the passage of time; we don’t have any markers to give us a sense of just how rapidly what’s happening to Alice is occurring. There are markers AROUND her, but none in her immediate personal circle (aging, etc.) that give us a sense of just how much longer we have, before she completely loses herself. It’s not there, and I feel like for more people to understand that, we needed that.

And while Alice loves all of her three children, we don’t get clear links, connections so to speak, between Alice and her other two children. The interactions are just not there. They happen, make no mistake, but clearly they’re not as strong and we don’t gain a clear understanding as to WHY.

That being said, I believe this to be Julianne, Kristen, and Alec Baldwin’s finest performances to date and absolutely call this film a #MUSTSEE!!!

#SheCritiques #WhatDoesWhatDoesNOTWork

 

Joyll CambridgeThe Swirl World’s resident Movie Reviewer Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. Joyll loves all things movies, fitness and swirling.

To read her personal blog at The Humanist Exec, click here.

Be sure to “Like” The Swirl World on Facebook and subscribe to our podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio! 

Copyright ©2014  Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™,  All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster from the movie Still Alice obtained from Wikipedia.

 

She Critiques-Night At The Museum, Secret Of The Tomb (2014)

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Night At The Museum: The Secret Of The Tomb (2014)

Night at the museum

First, very fitting tributes to Robin Williams and Mickey Rooney, two greats of the silver screen and the grey screen. May they rest in eternal power and may others come to appreciate all they put into their art as I do! The Magic NEVER Ends!

This is actually my favourite of the Night At The Museum series because it brings the magic in such way that it’s constant throughout the film but it doesn’t take away from the dialogue and the message behind it all. So here we go.

What Works:

The connection between Larry Daley (Ben Stiller) and Nick Daley (Skylar Gisondo)!!! These two do a fantastic job of taking the typical connection between a Father and his teenage son and making it, well, ATYPICAL. Their banter is solid and genuinely believable and enjoyable!

I love the supporting cast in this film including the monkey!!! Teddy, Akmenrah, Atillia, Sacajawea, Ovtavious, Jeddediah and more?!?! Absolute fun on the run!!! Even a welcome addition in Rebel Wilson who brings her own brand of humour and realism!!!

The effects?!?! You literally feel like you can reach out and touch them! Why they didn’t bring this film out in 3D I will never know. The journey they take through the British Museum, is such a master class in realism and history, it’s well worth the price of admission for that section alone!

 

What Does Not Work:

Honestly? NOTHING. I think if you go into this film with the expectation that it’s just a fun, family oriented film, as well as one of Robin Williams and Mickey Rooney’s last films, you really will enjoy yourself. The MAGIC NEVER ENDS.

#SheCritiques #WhatWorksWhatDoesNot

 

Joyll Cambridge

Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll joined our team as our Resident Movie Reviewer. To contact Joyll or request a review of a specific movie, email her at SheCritiques@TheSwirlWorld.com.

Be sure to “Like” The Swirl World on Facebook and subscribe to our podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio! 

Copyright ©2014 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster from the movie “Night At The Museum” obtained from IMDB.

 

She Critiques-WILD (2014)

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WILD (2014)

WILD (2014)

WILD (2014)

“Denying her wounds came from the same source, as her power!!!!”

WILD is an introspective and retrospective look into the life on a young woman who’s lost her way, no more like, she’s lost HERSELF. The above should really give you an idea of why this film is an absolute personal cinematic achievement for Reese Witherspoon, and also why this film could not be more timely. First let’s talk about:

What Works

I had my doubts when I heard Reese Witherspoon had been cast initially because I wasn’t certain if she could perform strongly enough to be in nearly EVERY SINGLE frame of a film. I can say happily, I was indeed incorrect in my assumption.

Cheryl Strayed’s journey and the people she encounters is so poignant, so moving, so scary and yet, you can’t imagine this wasn’t the place and moment in time that she was destined to be. There are so many times during this film, when Cheryl’s situation and how she’s come to be where she is, is an immediate reflection upon our own lives in some way. It’s so much more about living just for the sake of actually LIVING as opposed to existing for the sake of dying.

You’re moved, the earth moves, you’re pulled in my this enormous black hole of guilt and yet you find yourself being redeemed in ways you never even began to imagine. The physicality of this role and the strength both physical and emotional that Reese Witherspoon had to endure in order to give us Cheryl Strayed? Method yes, but mind-blowing all the more so!!!!

Another example of a near perfect casting? Laura Dern as Cheryl’s Mum Bobbi. I can’t even begin to describe how key it was to GET IT RIGHT. The connection between Cheryl and Bobbi is so strong you can almost see the physical manifestation of the lines between them.

The parallels in how each Mother and Daughter lived their own broken lines is absolutely frightening. “I was never me…” Bobbi tells her children and yet even in that simple and short statement there is such a triumphant story. Why Mums are the way they are, why they make the ultimate sacrifices for their children, why they endure the things they do, all to give their legacy the brightest future possible.

The contacts, the connections, the random people out on the trails with Cheryl, some who add to her life, her experiences, and some who solely exist to take something away. They’re not merely ships, they ports of call, they’re antagonist, protagonists. They’re reminders of humanity and how key it is not only to be true to yourself, but always to present your best self to others especially if they mean something to you.

Cheryl’s connection to her ex-husband Paul, who sanctions her journey and yet doesn’t initially feel she has what it takes to go the distance. He’s a motivator and a skeptic all in once played nearly perfectly by Thomas Sadoski. The people who are helping her along her journey are just as lost as she is in many ways and yet there she is, not necessarily looking for guidance, so much as beacons to light things up when the darkness overwhelms her.

 

 

What Does Not Work
Honestly? If I could find something, I would tell you but alas I am unable to do so. There are some minor issues with the flashing from past to current day, but they’re not so much flaws as they are wake up calls or sorts, to remind you what’s holding you down and lifting you up all at the same time.

I leave you with another quote from this film that has stuck with me from the very moment I heard it and will become a permanent fixture in my life as I live and breathe:
“I Found My Own Way Out Of The Woods….”

Yes Cheryl, you did indeed, and I know a few more people you helped find they own way out of the woods, TOO.

 

#MUSTSEE
#SheCritiques
#WhatWorksWhatDoesNot

 

Joyll Cambridge

 

Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll joined our team as our Resident Movie Reviewer. To contact Joyll or request a review of a specific movie, email her at SheCritiques@TheSwirlWorld.com.

Be sure to “Like” The Swirl World on Facebook and subscribe to our podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio! 

Copyright ©2014 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster from the movie “Wild” obtained from IMDB.

 

She Critiques- FoxCatcher (2014)

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Foxcatcher (2014)

Foxcatcher 2014

Foxcatcher 2014

I’ve been sitting here contemplating this film have just left the theatre an hour or so ago, and I must admit initially I was at a loss. Why? Because it took me quite some time to identify what does NOT work in this absolute marvel of a film. There are so many things that work brilliantly well that any perceived flaws took quite some time to appear in my consciousness.

First the particulars: Foxcatcher basically stars three highly transformed men, and one ‘lady’ (errr more on her later). It’s the story of Mark and David Schultz, played masterfully by Channing Tatum and Mark Ruffalo. John DuPont, eerily and magically played by Steve Carell. And Madame Jean DuPont, played by the always indefatigable Vanessa Redgrave.

John DuPont wants to be the Captain and Coach of the gold medal winning US Men’s wrestling team and he’s relying heavily on Mark and David to do this. This man has such a desire, such an intense hunger for gold that he would stop at pretty much nothing to obtain it.

Let me just stop right here momentarily to catch my breath and make a statement, if Steve Carell doesn’t scare you in real life after seeing him in this film, there’s something deeply wrong with the both of you! Whew! Ok onward….

 

 

What Works:

The INTENSE and highly skilled transformations of Steve, Channing, and Mark into John, Mark, and David. This film is going to win some awards for makeup and costumes if it already hasn’t. But the scary part is it’s NOT just makeup. There’s almost a Dr. Jekyll and Mr. Hyde transformation in EVERY key player in this film, including demeanor, stance, and speech flow/patterns.

You find yourself tripped up quite frequently, have to remember that that’s Steve Carell, that that’s Mark Ruffalo, and yes that’s Channing Tatum and Vanessa Redgrave but…..there are such frequent moments of disbelief that you almost want to pull up IMDB constantly to ensure you’re in the right theatre, screening the right film because it’s just that sublime, the transformations.

They’re not subdued in any manner, they’re SCARY as such. There is a new level of admiration and respect that you find yourself pleased with bestowing upon the cast. It’s indeed well-deserved and once you can finally reconcile that those are indeed the actors you thought were acting in this film, the film is ended.

The mode of John, as tasked to Steve Carell is deadpan, dead on, and so even keel all at the same time. It’s very difficult to ascertain what John is feeling, because he’s a king of sarcastic banter and yet you find yourself warming up to him before his volcano blows.

You are shown glimpses of his childhood, you’re also shown that the man who has everything appears to have nothing. There’s no sense of achievement, no sense of fulfillment and he initially easily garners your sympathy, you empathy. The way that he handles his staff, the way that he approaches each scenario like he owns everything and then his circumstances, he interactions remind you there are many things he can take no ownership of and it’s clear how that frustrates him deeply.

Mark; he’s stoic. He’s an Olympic gold medalist and one of the things that this film does very well is set you up solidly, as to why a man as skilled as Mark, can be so easily withdrawn, so easily solemn, and so easily manipulated as John is so tongue in cheek at doing.

There’s a theme in this film that Channing Tatum as Mark does such a phenomenal job of conveying and that John seems receive that torch and continue you on with it. It’s about being at your lowest. Mark is at an EXTREMELY low point in his life, as is John, but even their lows while different, are eerily similar and that is where their connection is formed from.

The other brother. The one everyone seems to respect and admire, the stand-up guy who is always looking out for others including Mark of course. The one everyone seems not only to look up to as a mentor, as a desired friend, as an ally, as the shining light. This is David. He and Mark are both gold medal winners and yet he seems to have gotten the luck of the draw so to speak. He’s the IT man, and this leaves Mark feeling highly inadequate and this so susceptible to John’s folly.

Make no mistake, Mark and David are brothers in arms, and yet the differences between them are so poignant and so well displayed you almost find yourself willing their dynamic to be different. You want things to be better between them. You want people to SEEK Mark like the see David. You want that FOR THEM.

There are metaphors in this film that if you’re not careful, you may overlook, or not see how they relate to the calamity that is the life on John DuPont. Things like, the horse, the trophies (and yes there are many), the military weapons all over the compound.

The backdrop that is Valley Forge while a beautiful, peaceful place to live and of course film, provides such an interesting juxtaposition to the chaos that is the hellhole that is John Dupont’s life. And no, this being that hell hole will never provide the excuse as to why John lives the way he lives, why he acts the way he acts, and ultimately why he completely lets what little foothold he has on life slither away. And that brings me to what does NOT work.

What Does Not Work:

As I stated previously, this took a while. There are two things that a great a film as this is, as great a performance that all actors presented us with, that simply do NOT work. The connection between John and Lady DuPont is unfortunately not one of them. Yes they are aloof when it comes to one another. And yes, their interactions do a great job of showcasing just how dysfunctional their relationship is, but even will all that, it isn’t enough.

Their lack communication, their lack of affection, their lack of affinity for each other, rings hollow. It’s all too easy to lay the burden of John’s folly upon Lady DuPont, but it doesn’t hold up. I suspect that’s because many of the people who spent their days around these two, learned the skills necessary to tune their dysfunction out. In other words see no evil….well you get the idea.

And therein lies the second issue. The WHY. There isn’t enough of a trigger, enough reasoning, enough insanity on screen to explain the WHY of it all. You find yourself wanting desperately to say, yeah I understand exactly WHY he did that. And it’s so close you find yourself at a loss that stays with you long after the credits have rolled. You’re like, that can NOT be all of it. There has to be more than the story. There has to be some sort of justification for such heartbreak, such tragedy.

Sure, what you see onscreen is full of fire and full of exuberance. It’s just not, the smoking gun (ironically enough) necessary to explain what brought all this to fruition. Still, even with that, I cannot express how much I enjoyed this film.

It’s a definite #MUSTSEE if only that gain an understanding that Foxcatcher Farms is The Emerald City and John DuPont is indeed the wizard. And we all know what we must do when we see Emerald City right? We’re off to see the wizard!!!!

#WhatWorksWhatDoesNot #SheCritiques

 

Joyll CambridgeJoyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll joined our team as our Resident Movie Reviewer. To contact Joyll or request a review of a specific movie, email her at SheCritiques@TheSwirlWorld.com.

Be sure to “Like” The Swirl World on Facebook and subscribe to our podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio! 

Copyright ©2014 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster from the movie “Foxcatcher” obtained from IMDB.

 

She Critiques- Top Five (2014)

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Top Five (2014)

Top Five (2014)

Top Five (2014)

 

Ordinarily this is the part where I use my opening sentence to give you guys a quick summation of what makes Top Five special, but truthfully, there’s so much that makes this film special that it deserves better than that so here we go.

This is a story of a successful comedic actor Andre Allen (played superbly by Chris Rock), who happens to have a few issues that have derailed his mojo and hence his career and he’s trying to straighten all that out and get back on top. He has a beautiful fiancée (who just happens to have a reality show) and a staff whose sole job it is to keep him OUT of trouble. The thing is, he’s headlining a new film that’s a DRAMA instead of the comedies he’s known for and people aren’t warming up to this new Andre, and not believing that a tiger can ever change his stripes. He meets this beautiful reporter for the NYT Chelsea Brown (Rosario Dawson) who wants to follow him around for a day as press for the movie and as press for his rapidly approaching wedding to the aforementioned fiancée.

What Works:

The insane chemistry and back and forth between Andre and Chelsea. He’s not a willing participant in this interview solely because he’s been burned by the NYT before regarding his OTHER films which are absolute trash. And Chelsea (played by the perfect partner in Rosario Dawson) isn’t exactly the type to NOT get what she wants and she wants an exclusive entrance into the Andre who started from the bottom and now he’s here (and yes that’s corny but trust me when you see it, it WILL make sense).

There’s a vibrancy and electricity that you can visibly see flowing back and forth between these two and no I don’t mean romantically, they’re not yin and yang, more like Fred Astaire and Ginger Rogers whose steps mirror each other so perfectly and so intensely it would creep an unappreciative person out! It works and it works brilliantly. There’s so much more to this pairing, just like there’s so much more to this film.

Another thing that works extremely well is the beautiful use of New York City as a backdrop. Not only are we gifted with the wondrous sights and sounds, but we also share in the magic spells that were cast not only to create these two characters, but also we are privy to racial and socioeconomic commentary that is linked to key parts and characters in the film (and no not just these two) and you realize just how essential those things are, and how ones culture manifest itself in who we’ve become. We meet Andre’s family, people from his past-some who had just as much influence on who he became as whom he did NOT. (This is KEY-remember this)

Silk, (J.B Smoove who handled that I must say) is Andre’s handler and childhood friend who keeps him focused and out of trouble. But don’t minimize him to being Andre’s bodyguard because he’s so much more than that. He brings a sense of warmth and nuance to the relationship between he and Andre and yet his sense of loyalty and devotion that others might give a negative assessment to, really is an about the understanding of Andre’s biggest desires and goals, and even more so his greatest fears. Silk is an anchor, a link not so much to the past, but to the truth which is oftentimes the only ground we have left to stand upon when all else fails.

What Does Not Work:

Houston, we have a problem is all I’m going to say and leave it at that. (You have to SEE it to believe it!)

The relationship between Andre and his fiancée Erica (played enjoyably by Gabrielle Union-Wade). Why? Because we don’t really get an opportunity to see WHY these two are together. It’s implied, but it’s a hard sell because there just isn’t enough screen time, connection, and momentum in the limited scenes between these two. Andre tells you WHY there together, but telling us is not the same as making us SEE why and it comes across as forced and underdeveloped.

Another thing that just seems out of place is the relationship between Chelsea and her boyfriend Brad. From the moment we first meet Chelsea there isn’t ANYTHING about her that screams, I have a boyfriend or significant other. She’s a bit star struck from the time she first encounters Andre and that pretty much continues in one way or another to the very end of the film.

Make no mistake, Top Five isn’t a RomCom. It’s very much a comedy with romantic thematic elements. There’s not much missing from the gem of a film, and there are so many wonderful and unexpected cameos that are just so much fun and add a bit of depth that we weren’t expecting.

I highly recommend it, and it earns a well-deserved #MUSTSEE from me! Have fun and enjoy!

#WhatWorksWhatDoesNot #SheCritiques

 

 

Joyll Cambridge

Joyll Cambridge hails from Manchester, United Kingdom and currently lives in New York, New York. She loves all things movies, fitness and swirling. To read Joyll’s personal blog at The Humanist Exec, click here.

Joyll joined our team as our Resident Movie Reviewer. To contact Joyll or request a review of a specific movie, email her at SheCritiques@TheSwirlWorld.com.

Be sure to “Like” The Swirl World on Facebook and subscribe to our podcast on iTunes.

You can also follow us on Sound Cloud and listen to the show on Stitcher Radio! 

Copyright ©2014 Michelle Matthews Calloway, ASwirlGirl™, The Swirl World™, The Swirl World Podcast™, All rights reserved. Photo of Joyll Cambridge used with permission. Movie poster from the movie “Top Five” obtained from IMDB.