‘Girlhood’ Movie Review 0 45


Girlhood (not to be confused with or related to Richard Linklater’s Boyhood) is the third directorial effort from acclaimed filmmaker Céline Sciamma, whose previous films include Water Lilies and Tomboy. And while it might not be as effective as either of those, it nonetheless provides a striking, detailed exploration of the well-worn coming-of-age genre.

The film tells the story of 16-year-old Marieme (impressive newcomer Karidja Touré) who lives in an underprivileged area of Paris with her two younger sisters and domineering, sometimes abusive older brother. Lacking any real life prospects she one day gets involved with a gang of girls who spend their time skipping school, fighting and shoplifting. At first Marieme – eventually adopting the nickname “Vic” – feels like she has a newfound sense of purpose and confidence but soon realises it may not what truly makes her happy as her criminal activities start to escalate.

Adolescence, social standing and belonging are just some of the themes explored in Sciamma’s film and it’s done in a matter that makes you sit up and take notice. On the surface it’s a generic story about a struggling girl trying to better herself and take care of her siblings, nothing we haven’t seen before really. But there’s a refreshing honesty in Sciamma’s writing that allows plenty of room for its characters and themes to breathe and the distinct visuals – gorgeous shadowing against blue backdrops, striking scene transitions and the like – give it a unique flavour.

Essentially it’s about how an impressionable adolescent who strives to get ahead but is withheld due to her circumstances falls in with a bad crowd – the “hood” of the title refers as much to the streets as it does anything else – letting the snazzy glare of teenage rebellion, the promise of new possessions and above all else a sense of power that comes with being able to intimidate people as part of a group go to her head and allowing that to spur on a bigger spiral of wrongdoing. Sciamma clearly knows her subject matter and she effectively captures the detailed minutiae of disaffected and disenfranchised youths in French society without it ever feeling like she’s taking a judgemental, figure-wagging standpoint.

The film works less once it dispenses with the scenes of her integrating into the gang and forces the transformation of its central character into a fully-fledged criminal – in terms of attitude, actions and her newly adopted appearance – on us rather too suddenly in a way that makes it ultimately hard to truly care about her but easy to yearn for the much stronger and more compelling first segment.

That said, it doesn’t completely undo the good the film has done up until that point which is largely thanks to the performance of Touré in the central role. It’s her first ever feature film performance but watching her embody such a intricate character, you’d never know. She has all emotional complexities and vulnerabilities of a seasoned actor with the unique ability to say a lot without physically saying very much that makes her a young star to watch out for in the future; appropriately she was nominated for the Most Promising Actress at the César Awards.

Though it does go on longer than is probably necessary, occasionally overdoing some of the scenes or overstretching some of the main points that it’s trying to get across, Girlhood is clearly made with a lot of passion for the subject matter and by a filmmaker who knows exactly what she wants. Coming-of-age movies are a dime-a-dozen but it’s nice to see one that has fresh angle on things, even if can take its sweet time doing it.

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I’m a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features.

I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Movie Review: Home Again 0 414

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10

Movie Review: Goodbye Christopher Robin 0 447

This review was previously published at The National.

The world of celebrated children’s author A. A. Milne and the creation of his beloved Winnie the Pooh stories are chronicled in this frightfully polite biopic from director Simon Curtis (My Week with Marilyn) that flirts with dipping its toes into darker waters but steadfastly clings to safe tropes and always with its top button firmly fastened.

We start off in 1941 where we find an ageing Milne (Domhnall Gleeson in questionable make-up and greyed hair) and his wife Daphne (Margot Robbie) living on their secluded East Sussex farm. They receive a telegram informing them that their son, C.R. Milne, is missing presumed dead after heading off to fight in World War Two.

We then jump back in time to Milne on the front lines of the First World War. He returns from the fighting a changed man; suffering from PTSD (popped balloons evoking sudden gunfire et al.), becoming increasingly sick of just making people laugh with his West End plays and the general hustle-bustle that comes with big city life.

He convinces his reluctant wife to move to the country for some peace and quiet and where his infant son, Christopher Robin (played by Will Tilston at the younger age, Alex Lawther as he gets older), can go on the childhood adventures he deserves with the support of loving nanny Olive (Kelly Macdonald).

Settling into the kind of serene life he craves, he is inspired to create Winnie the Pooh and the rest of his soon-to-be-beloved friends inspired by the stuffed animals with which his young son has become so enamoured. Unfortunately for Christopher – referred to by everyone as “Billy Moon” – his father uses his real name in the stories, turning him into one of the most famous boys in the nation.

Despite the obvious attraction of it exploring the world famous Pooh stories, it’s a film much more interested in the effect it has on a fractured family clinging on to peacefulness, not least the unwanted attention thrust upon a young boy who simply isn’t equipped to handle it and how his parents carry on oblivious.

If anything it takes a curiously bleak outlook on what these stories mean to the world once they’ve been put out there, conveying a somewhat confusing message for a film that ultimately wants us to celebrate these stories as immortally cherished tales; that the Winnie the Pooh embraced immediately by the public and has now stood the test of time for almost a century is in some way missing the point of what it truly means to the author and a son who, inadvertently or not, was used as a tool of innocence to sell the idea of an idyllic childhood in Milne’s Hundred Acre Wood.

It’s bolstered by almost uniformly moving performances; Gleeson plays Milne with a kind of damaged empathy that makes you feel like you get to know the author beyond the public persona. Macdonald is oftentimes heart-breaking as Christopher’s devoted caregiver and Tilston walks away with the film as the adorably sweet-natured young Christopher. It’s only with Robbie that the film makes a misstep; she’s miscast as Milne’s wife and never stepping out of the shadow of cold motherly cliché.

In spite of its darker leanings, the film remains too buttoned up to properly wrestle with those themes in any sort of lasting way, far too polite to ever dive head first into the murky waters into which the drama intermittently peers.

Wrapped in Ben Smithard’s handsomely old-fashioned cinematography and soaked in Carter Burwell’s perpetually swelling score, it’s an aesthetically and emotionally appealing but nevertheless fairly vanilla period biopic best suited to being enjoyed on a rainy Sunday afternoon with tea and biscuits.

6.5 out of 10