Showing posts with label samson kayo. Show all posts
Showing posts with label samson kayo. Show all posts

Monday, 26 December 2022

Boxing Day (2021)

Although a seasonal rom-com with plenty of extra drama, Boxing Day, as the name suggests, is also a film about that time during the holidays when the focus isn't necessarily on the gifts and messages of love and peace. Boxing day is when people enjoy leftovers, and it's when the warm glow of Christmas Day starts to turn into a roaring fire, one that can either keep you energised and glowing or can have you raring to restart that long-running feud with your cousin that used to steal all of your best Matchbox cars and Action Man figures.

Aml Ameen is Melvin, a young British man who is about to reluctantly head home for the holidays to visit his family. He'll have to make an appearance, despite the fact that his main reason for heading back to the UK is to help promote his new book. Melvin's family will all be meeting his partner, Lisa (Aja Naomi King). More importantly, Lisa will be meeting them. There are the usual ups and downs you get with any family unit, but things are complicated when Lisa finds out that Melvin's sister, Aretha (Tamara Lawrance), is an assistant to a talented British singer, Georgia (Leigh-Anne Pinnock). Oh, and Georgia used to be in a serious relationship with Melvin. 

As well as starring in this, Aml Ameen both wrote (with Bruce Purnell) and directed the movie, basing a lot of the general atmosphere and the family interactions on his own experiences. I was initially worried, my default position when I realise that a star has given himself a role in something they have also written and directed, but there was no need. Ameen proves himself very much up to every task he assigns himself, and he steps back often enough to allow some light to shine on his very talented cast.

King is very easy to root for throughout, put in an awkward situation from very early on and coming out swinging to prove that she's no passing distraction, and Pinnock (making a smooth transition from singing with Little Mix to portraying a singer here) does well opposite her. The two women both have strong attachments to Ameen's character, but you can also easily believe that both may open their eyes to other possibilities at any point, leaving Melvin alone and full of regret. Lawrance is great fun, Sheyi Cole is hilarious as the love-struck Josh (pursuing a young woman who used to date his cousin, played by Samson Kayo, much to the cousin's displeasure), and there are lovely moments for Marianne Jean-Baptiste, Stephen Dillane, Robbie Gee, and everyone else involved in some of the scenes that depict the cosy chaos of a large family gathering.

As well as the mix of expected tropes and melodrama, Boxing Day has a wonderful soundtrack selection, one or two moments of sweetness that play out well, without somehow feeling too schmaltzy, and a great look at the holiday season through a different filter. Populated by a cast that is almost entirely black, this is a film depicting a specific experience within a Caribbean-British household, but it's in being so specific, and drawing on such personal memories, that Ameen manages to hit the bullseye for viewers who will soon see that, while exact customs and scenarios will differ, we're all in the same boat when it comes to balancing the love and support along with the emotional turbulence and insanity that is all part of being part of any family.

A bit cheesy, quite predictable, maybe slightly overlong, Boxing Day is nevertheless a great directorial debut from Ameen. Don't expect perfection and you should enjoy it as much as I did. Which is also a good motto for the entire holiday season.

7/10

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Sunday, 3 April 2022

Netflix And Chill: The Bubble (2022)

If you wanted to be particularly cruel about The Bubble, a star-studded and overlong comedy from Judd Apatow, who simply cannot make a film under 2 hours nowadays, and has clearly been having a lot more fun than most viewers over the past 5-10 years (although I did really enjoy The King Of Staten Island), then you could quite easily say that it feels like the best way to deliver a huge dollop of nepotism. This is underscored by the moment in which the movie turns into one extensive, elaborately-choreographed, TikTok video for a character, Krystal Kris, played by Iris "daughter of Judd" Apatow. I don't want to be particularly cruel about it, but I don't want to be particularly nice about it either.

Because The Bubble is bloody awful. It's largely unfunny, feels very smug for a lot of the runtime, and doesn't give you any characters to really care about. And the saddest thing about it is the fact that it wastes a great cast, all of whom seem game to make fun of themselves, and all of whom are then given the most careful handling, as if they are too fragile to handle some actual digs and humour.

The plot is simple. A group of actors are set up in a large hotel to film the latest instalment of an ongoing blockbuster franchise, Cliff Beasts 6. Each star has their own set of issues, but most of those issues are either underdeveloped or just not that great, comedically. Oh, and there's ongoing social distancing in place, quarantine rules, and tests for COVID.

Co-written by Apatow and Pam Brady, it's really hard to view this as anything more than a vanity project that goes for some easy options at a time when film-making has become even more challenging than usual (BECAUSE of the kinds of measures shown onscreen). This feels like a film that was hastily written around what was viewed as a winning central concept, clearly sold to the stars as something better than it ended up being. .

The cast are often trying their best, and the familiar faces are people I have enjoyed in many other movies. Karen Gillan, David Duchovny, Keegan-Michael Key, Fred Armisen, Peter Serafinowicz, and Kate McKinnon are highlights for me, while Harry Trevaldwyn, who I haven't seen before, was an absolute scene-stealer. There are a couple of fun cameos from John Cena and James McAvoy, but a less fun cameo from Beck, and everyone else varies between the poor (Pedro Pascal just isn't as good with the comedy, sorry) to the perfectly . . . okay. Leslie Mann and Iris Apatow aren't necessarily bad in their roles, but their casting feels like an excuse to make this a fun time for the family, rather than the best time possible for the viewing audience.

There's great stuff to be mined from this kind of scenario, from the actors feeling privileged enough that they don't think they should need to adhere to social distancing rules to the lengths a studio will go to in order to get more content out there after such a lean spell, but this doesn't succeed. Part of the problem, perhaps, is making the film being made such an obviously stupid one (seriously, it's maybe less substantial than Monster Trucks), but I think the biggest problem is Apatow, someone who continues to move further and further away from any place where he can be self-critical and disciplined. 

It gets one point for every time I laughed.

3/10

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