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Film reviews

Opus Review

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Mark Anthony Green takes his audiences to a world where an icon has secrets. Opus revolves around a daring subject matter that correlates to some of the conflicts with artists today, similar to the many controversies surrounding Sean Diddy. Opus is a fictional approach to these topics; however, it has that cult aspect tied into the film extremely well. The navigation of getting a story into a world darker than one anticipates is a daring journey in Opus. The dark personality is shown through the eyes of Alfred Moretti, and he is played by John Malkovich. The calm aura of Malkovich’s performance is what makes Opusmore anxiety-provoking than audiences realize.

The film begins with a journalist named Ariel Ecton (played by Ayo Edebiri). She gets assigned to cover Moretti. It is a big story because he has been off the face of the Earth for ages. This is a massive opportunity for Ariel; however, it is one that goes much deeper than she assumes. She travels with her colleague, Clara Armstrong (played by Juliette Lewis) and her superior, Stan Sullivan (played by Murray Bartlett).  When they arrive at Moretti’s home there is already a bizarre setup—one that looks to have orders and rituals that all have glaring red flags attached.With his home being off the beaten path, there are bound to be a lot of mixed signals in Opus.

The notion of a journalist trying to get the real portrait of who an artist is keeps going underground, as in the pattern keeps evolving to be questionable and loses a sense of normalcy in Opus. The result is plenty of strangeness to the core. Somehow it exceeds its surrealness in the characterization as Malkovich portraying an emperor artist with an egotistical nature. Edebiri captures the elements of what makes one iconic and the true answers are of a disturbing nature. It is like a world where an icon has a level of fame like Michael Jackson and then introduces his own version of Neverland Ranch. The difference here is that it is more like an Eyes Wide Shut type dynamic. 

Opus carries a massive weight, because it challenges a fictional scenario that is based off events going on today with artists–especially when it comes to extreme behavior. The portrait it paints leaves the audience curious as to how one would feel if they were on the same journey as these journalists. The curious and surprising thing is that the shock values will have more humorous factors over horrid factors.

With the performance of Edebiri, I felt she is the hero of this awkward premise. Especially as she is trying to get her feet wet while attempting to capture stories that grasp the world. Her performance leaves a track of the risks that come with writing about the truth. The truth of Moretti is one-of-a-kind. Opuskeeps the momentum high as it swerves in motions of uncertainty as the journalist tests the waters to get the real story in this film. It delivers its risk-taking attitude with many punches that are more to bear than anything.  Cheesy, but vibrant with intense excellence in the persona of Malkovich. Three out of four stars for Opus.

Film reviews

Parthenope Review

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“Great actors, like great directors, do the same job. They are great observers of reality.”

-Paolo Sorrentino

Those quotes hold true to the craft of Sorrentino. He is a director that loops in beauty and presence in forms that feel connected to the purest quality. With a blend of dynamics, characterizations, and purpose, artistic craft shines in Parthenope. This film that takes place in Naples, Italy–a country that Sorrentino admires.  The humanistic value here feels vivid in its form of following its main character. With an array of ups and downs, Parthenope leaves marks of the challenges of moments portrayed and lightin the revelations revealed. All of it is through the eyes of the film’s main character…Parthenope (played by Celeste Dalla Porta).

The vibrations of scenery create the flow of Parthenope. As the film’s center, they are gorgeous in capturing the essence of Porta’s most ambitious roles. The plot is diverse, and the setting of Naples sets off a vibrant track. Parthenope is a woman of divine beauty—she has a lovely personality and dazzles the screen of her dynamic life. Continuity strolls through her journey with much to think about. She navigates her life throughher studies in Anthropology. This ties into her connection with her professor Devoto Marrotta (played by Silvio Orlando). She also navigates her companionship with Sandrino (played by Dario Aita) and Raimondo (played by Daniele Rienzo). She also has ambition to take the steps to become an aesthete because of writer John Cheever (played by Gary Oldman). On top of that, she has hopes to become an actress through her connection to Greta Cool (played by Luisa Ranieri). The many loopholes and avenues of Parthenope’s life are a journey of discovery—one that is bold and spellbinding in the thoroughness of Sorrentino’s artistic craft.

From the viewers perspective, it is like the performance of Porta is that of a creature finding open doors to beauty. “Beauty” isblended with light and creates a constructive pattern in Parthenope. The setting of Naples is one where the artistic life of one finding their track is diverse in the pattern of one finding themself. This is a journey that will take the breath away from its audience, especially through the moments where Parthenope questions her beauty and who she loves. They leave the audience to wonder who will benefit her in her journey to find a career or move toward a life that is fulfilling.

From Sorrentino, the presentation of one feeling alive and in the moment weaves the wonders of happiness and contempt into a complex tapestry. The question is where is it rewarding? Is it with her many moments of relationships? Is it with her studies? Is it with the fascinations of thinking of becoming an actress? The diverse range of places and choices are intentionally vast tocreate a correlation of unforgettable meaning.

Love finds new tones of language and empathy in Parthenope. A masterpiece of craftsmanship and looking at life in a warming,heartfelt perspective. The shifting of plateaus leads to unforgettable wonders. It does not dwell on finding a negative pattern, but the choices in Parthenope are bound to make an audacious impression. Four out of four stars for Parthenope.

Film reviews

The Brutalist Review

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Writer and director Brady Corbet is the champion of his craft with The Brutalist. A jolt to cinematic ambience that is mind-boggling and daring. A film that is set up chronologically in acts to vividly compel its audiences to want more. Laid out with an overture, separate acts, and an epilogue, The Brutalist gives its audience a chance to refuel their brains. At a running time of three hours and thirty-five minutes, there is a fifteen-minute intermission.

This drama of wonders is all centered-on Laszlo Toth (played by Adrien Brody). Laszlo is an architect that is vivid with his craft. His wife is Erzebet Toth (played by Felicity Jones). Laszlo and Erzebet escape from the post-war Europe in the year of 1947. Laszlo’s goal is to rebuild with his fascinating architecture. It is a swift period where industries, businesses, and landscapes play a role in the profits for projects to start up. It is a journey that encounters trial and error, while also building legacies for a bigger meaning. In examining the performance of Brody, he is destined to be Laszlo. The dedication he conveys paints a portrait of artistic fascination where there are no bounds.

The film paces itself—Laszlo finds himself in struggles with rebuilding his reputation at first. Also, trying to reconnect with his wife to start a new beginning poses a challenge. Corbet’s writing and continuity are vast with many dreams floating through the mind of Laszlo—he wants a life of success, but his passion for architecture leads to discord on many fronts. The times are heavy with political conflicts tying into other stressors and creating a presence of darkness.  As Laszlo realizes he is in front of the Statue of Liberty, he becomes destined to create opportunity for those he soon encounters in The Brutalist. 

The dark and successful days of Laszlo battle each other once he begins to work with clients. He starts to do work with Attila (played by Alessandro Nivola). This is a steppingstone, but then he gets a more rewarding opportunity. He is offered a commission to design a grand modernist monument. The one who gives him this job is Harrison Van Buren (played by Guy Pearce). Harrison’s son Harry Lee (played by Joe Alwyn) is also involved. This provides Laszlo with food, shelter, and a place for his wife Erzebet, but he questions if this is all of what he truly wants. The themes of wealth and greed play a role in the turmoil of Laszlo’s vision. With it being the era of modern America, The Brutalist loops in technological factors of to bedeeply frightening, stressful, and invigorating. 

Laszlo is his own scholar—attempting to make his craft and vision of what he wants to be unforgettable begins to be more than he can bear. The film’s depiction of Laszlo finding his ways to ease his stress and anger create an eerie presence. There is a lot to take in with The Brutalist. With the factor of modernization moving forward (after World War II), The Brutalist is an evolving reality of success with a trail of happiness waiting to be fulfilled. However, can Laszlo succeed at what he is assigned? Can he trust the egotistical wealthy minds surrounding the Van Buren family? Can he make the right choices and trust that life will be safe for Erzebet? There are many moving parts in The Brutalist. All of which challenge their own demons poetically and cinematically. It is authentic in its form of depicting the idea of never giving up while also dealing with artistic endeavors that remain unsupported in the world of profit.

When projects go downhill, so do the attitudes and trust of Laszlo, The Van Buren family, and his wife Erzebet. This is because the home of Laszlo is in the hands of the Van Buren family. Laszlo wants to rebuild his reputation and wants to keep creating the future of what he sees in his mind, but with the lack of structure, his ego spirals like crazy and leads to drinking, drug usage, attitude problems. The Brutalist dazzles with emotions.

The intermission is what helps its audience rebuild their thoughts before they continue with the other acts of the film. With the trail of Laszlo hitting roadblocks, The Brutalist is one that will keep building foundations of wonder and questions. The era of modern America is presented in an audacious form that I have not seen before, and it is all through the eyes of the performance of Brody. The Brutalist carries cinematography and scoring perfectly to maintain the emotions of its audience. It is set to know the moments of lightness and darkness. Brody’s performance is a monster of grandeur, brutality, and brilliance. Four out of four stars for The Brutalist.