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Film reviews

Oh, Hi! Review

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Romance and a relationship finding itself to be sabotaged are the themes in this fling of a romcom.  This is Oh, Hi!. Written and directed by Sophie Brooks, she creates turmoil in relationship direction that tries hard to find common ground. Deep below the surface though, there is uncharted territory to be navigated in a friendship that is hard to bear. It follows one relationship assumed to be serious with an odd turn that brings the film into a context of curiousness. Why is there a lie in a relationship? Why does a romantic plan have bad news at the most unexpected time?

Its main characters are Isaac (Logan Lerman) and Iris (Molly Gordon). A couple on a getaway at a cabin. A rendezvous type of adventure. One with some weird moving parts right from the beginning. Especially with the fact that an apple stand is knocked over accidentally in route for the trip. Once Isaac and Iris arrive, they show up and are in their lovie dovie mode. However, all the romance and connection all tend to be flawed. 

Even though they appear to be a strong couple, Isaac tells Iris he does not want anything serious. This leaves her in the mood to keep him locked to bed. Yes, a rather strange setup in navigating the situation. It is like a foreplay comedy trying to get truth be admitted in the form of writing lies in terms of how some may feel when dishonesty is hidden. Iris continually tries to play mind games with Isaac to get his mind and perspective to change—desperation in love is the thriving tone here.

The writing is creative in building a scenario of figuring individuals out. Especially with Iris continuously trying to look appealing while Logan is tied to a bed. She treats him like a slave but in the tone of being polite and all. That is where there is mediocrity. More just because many times audiences will wonder when the cuffs come off. This is where psychotic behaviors begin to get out of hand. It is both funny and haunting. Especially with the fact that it is all displayed in such a quirky light. Romance cannot be true via tying someone up.

If I had to elaborate, I felt a lot of the context was more around young love finding fulfillment. Also, forcing that aspect. Especially with the fact that Iris continually loses her mind while leaving Isaac handcuffed in bed. The longer Isaac is trapped, the more of a psycho Iris pans out to be This is one-of-a-kind silliness, but it is nowhere near a masterpiece. It is mediocre in its attempt to be an experimental form. A silly and comedic direction where boundaries are never established,especially since Iris continues to not untie Isaac. The act of becoming a grown-up is dismissed. A boring film trying to find its fair form in writing with no revelation. Clever premise and personalities but writing that lacks the quality to make this feel joyful or fulfilling.  Two out of four stars.

 

 

Film reviews

I’m Still Here Review

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I’m Still Here is a breathtaking portrait of a true story. It is nominated for Best Performance by an Actress in a Leading Role, Best International Feature Film and Best Picture. Its representation of creating meaning during a harsh time goes a long way. Directed by Walter Salles, his direction can be placed in the class of an auteur with I’m Still Here. The theme of livelihoods and lifestyles of people being disrupted because of a dictatorship creates the atmosphere with the continued vein of remaining close to the ones we love the most.

It is a combined docudrama, period drama, political drama, and biography. The genres “period” and “political” are the two that tango in a magnificent style in I’m Still Here. The film takes its audience to Rio de Janeiro in 1971 with the story going in the direction of the life of Eunice Paiva (played by Fernando Torres). She is one with a big family and tries to live happily with her husband and their many children. Her husband is Rubens Paiva (played by Selton Mello). They try to maintain their family life and stay the course; however, the lives of the family members are changed forever when Rubens is taken from their home. His disappearance is due to a military dictatorship and many political factors that are unforeseen. This puts Eunice and her children onto a path that will alter their lives forever.

The film keeps its tone of sticking together to be fearless. The performance of Torres makes her the champion of the story’s consistent persistence to be the strong one for her children. While questions that are unanswered keep spinning her family in circles, she does not quit. The incident that set the events in motion was the kidnapping of a Swiss ambassador. Politics keep swerving, creating an inevitable pattern. I’m Still Here is a journey of courage. The writing and foundation of family fuel the film’s true narrative to a level that is breathtaking.

The era of politics hitting plateaus and impacting families delivers a presentation that hits the emotional tracks hard. I’m Still Here travels through decades with Eunice and her family as they navigate this journey and create new lives in the wake of Rubens being taken from them. This is what leads Eunice to become a lawyer and activist. The turmoil of the government presents hardship but also an opportunity for her to thrive and fight for the hard matters that impact her life and the lives of others. I’m Still Here carries that aspect of never giving up, and truly putting forth what is right for a better life ahead.

What came to my mind throughout this real-life ride was how itstangos with answers not unfolding. The idea that confidentiality serves as a liability. Common ground is practically impossible, and it is not the way for Eunice, being the warrior for her family. It is just her, and with her husband being taken away, the situation is in her hands. How long though, until there can be peace in I’m Still Here?

The fate of the film lies within many elements. They range from sacrifice to turmoil and the search for answers. They create a landscape that feels like a cinematic jolt. The pacing continues with the government and politics intertwining, and that is the struggle for Eunice. Torres is ambitious and not a quitter in her role as Eunice. It is Oscar-worthy. The whole film is “Oscar-worthy!” Four out of four stars.

Film reviews

The Room Next Door Review

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Director Pedro Almodovar has always worked on films that force audiences to step out of their comfort zone. His directing style is unique in finding angles of suspense and consequences of feelings. From Talk to Her (2002), Broken Embraces (2009), The Skin I Live In (2011), Pain and Glory (2019) and other films, his films have mostly come with a hard R rating because of their context and contents with heavily mature themes. The Room Next Door though is his first PG-13 rated film and English-spoken project.  It is presented with a lighter tone to the adult material but still a heavy subject matter. His films are about finding ways to heal and to deal with conflicts and actions for unexpected events. The storyline of The Room Next Door revolves around one of these “unexpected events.”

The film takes place in New York and is focused on two writers, Ingrid (played by Julianne Moore and Martha (played by Tilda Swinton). Ingrid is an accomplished book writer, and Ingrid is a war journalist. They are quite close but have been out of touch for a while. Ingrid gets the news that Martha has cancer. Going forward, both reconnect and from there The Room Next Door is an emotional direction of doors that repeatedly open and close. There are moments of happiness and sadness—it is a bipolar force of a drama with intense writing.

Almodovar is the master of looping in moments of turmoil for a deeper purpose. Martha’s illness is the pot that boils the agony fearlessly in The Room Next Door. The film’s title is based on the setup and agreement between Ingrid and Martha. Martha wants Ingrid to stay and have a getaway with her for a few days before her death. This is where the film’s writing starts to rapidly create its blend of humanistic emotions. Almodovar is keen on making his audience feel what his characters are feeling—sad, distraught, aggravated, and confused. The cancer mixed with relationship issues causes all kinds of feelings.

Despite the hard favor asked of Ingrid, it is a situation that connotes realism on an honorable level. This is especially true when a third friend comes in fragments. That friend is Damian (played by John Turturro). He talks to Ingrid and stays in touch with her, as he takes on the role of one she can vent to. He is also a writer. This is the trail of three accomplished friends and writers, one of whom is bound to see her final days of life. Damian adds value to this though, because he talks about how life and sacrifice are things to think about carefully. Damian does not want much of the drama, however for Ingrid though, Martha is too important to her. The dynamic of this shows how some truly keep their distance while others remain close. The humanistic value of appreciation finds the boundaries within itself from the mind of Almodovar in The Room Next Door.

With correlating careers of growth, The Room Next Door dives to feelings of competitiveness, as the performances between Moore and Swinton start to briefly meander. The expectations of finding a strategy to live the best days of their life before one of their lives ends is a structure that encounters many obstacles in a row. Nothing is black and white. Almodovar’s direction of being ready for what is unsettling is what is captured thoroughly in The Room Next Door. Writers, friends, and life with complexities all thrive in arthouse moments throughout The Room Next Door. Three-and-a-half out of four stars.