Marty Supreme (2025)

I saw many people mention Marty Supreme as a film in a similar vein to Uncut Gems. I would disagree. I think it's actually more in line with Inside Llewyn Davis. While not looking at grief in the way that film does, it gives us a central character who keeps making himself into the biggest obstacle to his potential success.

Timothée Chalamet plays Marty Mauser, a young man who fancies himself as the world greatest table tennis player. Nobody else really thinks there's a future in that though, and very few people view it as a sport. Marty cannot really afford the life of a dedicated sportsman, which is why he spends some of his time hustling others with his friend, Wally (Tyler Okonma AKA Tyler The Creator). He also spends some of his time being far too intimate with the married Rachel (Odessa A'zion), but ends up in the orbit of an actress searching for a comeback (Kay Stone, played by Gwyneth Paltrow), her rich husband (Milton Rockwell, played by Kevin O'Leary), and a gangster (Abel Ferrara) with a stash of cash and a need for someone to temporarily care for his dog.

Directed by Josh Safdie, who also co-wrote the screenplay with regular collaborator Ronald Bronstein, this manages to play fast and loose within the confines of the sports movie structure, yet also give viewers something that hits a couple of very familiar beats. Based loosely on the real-life Marty Reisman, this keeps us alongside someone strangely captivating, despite being so selfish and loathsome, in a 1950s world accompanied by an enjoyably anachronistic soundtrack (although I was very dissappointed that "Just A Song About Ping Pong" wasn't used). While things go from bad to worse for Marty, he's so consistently self-destructive that any potential bad end feels absolutely expected, and even slightly deserved, removing some of the tension that would otherwise be thrumming throughout every scene.

Chalamet is absolutely superb in the main role, giving an impressively vanity-free performance that sees him playing the lousiest character he's yet played onscreen (and, let's not forget, he played a damn cannibal in one of his previous features). A'zion is also very good, and does well in her scenes with Chalamet to make you believe that she sees something in him that others may miss. Paltrow and O'Leary are both excellent, and both get scenes that allow them to steal the spotlight away from our main character for at least a moment or two, and Okonma excels in his supporting role. Ferrara is a lot of fun, being as mean and dangerous as can be, and there are also damn fine performances from Larry Ratso Sloman, Fran Drescher (who I wish had been in it for a bit longer), Isaac Simon, Penn Jillette, Luke Manley, and Koto Kawaguchi.

There's an excellent score from Daniel Lopatin, great production design throughout that keeps you grounded in 1950s New York (despite those soundtrack choices), and a necessarily impressive display of table tennis in a few main sequences. Some will find it insufferable, because of Marty being so insufferable, but I hope that most will find it as compelling and entertaining as I did. I may not rush to rewatch it, but I AM still thinking about some key moments that won't be leaving my memory any time soon. The fact that the tension feels slightly less palpable, undercut by the personality of Marty, actually makes it a more enjoyable viewing experience than it otherwise would have been. 

Oh, and it may have one of the best opening credit sequences of all time.

9/10

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A Complete Unknown (2024)

Here are the things I know about Bob Dylan. His video for Subterranean Homesick Blues is quite brilliant. A number of his songs have been covered by artists who have sometimes managed to eclipse the original. And his voice is somehow both pleasing to the ear and not unlike a musical vacuum cleaner. Those are the things I know about Bob Dylan. So I wasn't in a rush to watch A Complete Unknown, although the people involved ensured that I would get around to it eventually.

Timothée Chalamet plays Dylan, a young man we first see arriving in New York City as a talented 19-year-old on a pilgrimage to visit a hospitalised idol, Woody Guthrie (Scoot McNairy). Dylan meets Pete Seeger (Edward Norton) while visiting Guthrie, and this proves to be one of the first stepping stones on his path to great success. He also gets involved with Sylvie Russo (Elle Fanning), finds a strong connection with the fantastic Joan Baez (Monica Barbaro), and becomes more and more selfish as he commits himself to the lyrics and music that will transform him from a complete unknown to an enigmatic musical icon.

Based on a book by Elijah Wald, adapted into screenplay form by Jay Cocks and director James Mangold, A Complete Unknown manages a fine balance of showing the man behind the music while not actually showing you the man behind the music. It quickly becomes clear that Dylan wants his work to speak for him, and there's no denying that he has quite a sizeable discography from which to pull statements from. Mangold is a very capable director, able to turn his hand to a variety of genres, but this is one of his best works, although it come after a decade of him delivering one great film after another (albeit films not necessarily right in line with this one).

Everything is helped by Chalamet being so good in the lead role. Instead of delivering what could have been a clumsy impression, Chalamet really does seem to embody the spirit of the musician that he's portraying. He also convinces with the singing and guitar-playing, however that is performed onscreen. Norton is so good in the role of Seeger that it's a reminder of how good it is to watch Norton in the right role, and I feel as if we have missed some fine work from him for too long. Both Fanning and Barbaro are just as good as anyone else onscreen, and do very well to avoid being overshadowed by the man who ends up, to some degree, being the centre of the musical universe for many. McNairy doesn't get much to do, but does it well, Boyd Holbrook has fun as Johnny Cash, and many more secondary characters are played by a selection of pretty flawless supporting players.

There's not much more to say about this. It's quite standard biopic stuff, even if it is only looking at one key part of Dylan's life. The moments that are tweaked to make them more cinematic retain a core of authenticity, the many truths throughout the film are compelling and thought-provoking, and the decision to keep an air of mystery swirling around the figure being observed works for both the film and the enduring legend of Dylan.

Did I feel as if I knew a lot more about the man once the end credits rolled? Not really, and you could call that a failing. I wouldn't though. I decided that I appreciated the small amount of extra context that gave me even more appreciation for a body of work that I'm now keen to explore. Let's face it, I liked the film so much that I didn't spend this entire review trying to insert a load of Bob Dylan songs and puns. I guess the times they are a-changin'.

9/10

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Dune: Part Two (2024)

The film that fans of Dune: Part One were forced to wait an extra five months to see in cinemas, that delay seems to have done nothing to dampen the enthusiasm of those eager for more visually gorgeous sci-fi on the big screen. It certainly gave me time to FINALLY watch the first instalment and join those who were eagerly awaiting the concluding part of the tale. Except, and I feel it’s important to say this somewhere in this review, this isn’t really a conclusion to the tale. It’s another lengthy chapter, and I was disappointed as the end credits rolled after an ending that didn’t feel like a proper ending. It might be in line with the source material, and there is certainly more to come from Denis Villeneuve working in this world, but that didn’t help me when I was underwhelmed by the way in which things just started to move towards the next part of the epic tale.

I will give a brief, and very poor, summary of the plot. After the events of the first film, Paul Atreides (Tinothée Chalamet) and his pregnant mother, Jessica (Rebecca Ferguson), are living with the desert-dwelling Fremen on the planet of Arrakis. Powerful people still want to destroy the Fremen, all to control the spice and become even more powerful, but Paul may well be the secret weapon that helps to end the ongoing battles. Or he may well cause even more destruction and bloodshed. There are strong bonds forged, and broken, there is a prophecy that many start to doubt, and there is a need to learn how to walk without rhythm in order to stay safe from the giant sandworms.

Although a visual feast from start to finish, as well as an aural feast too (thanks to Hans Zimmer and everyone working in the sound department), Villeneuve and Jon Spaihts have once again done a magnificent job of compressing an epic tome into a digestible and entertaining movie. It has a slightly different tone from part one, mainly due to the fact that we are witnessing Paul exploring his true potential, but it’s often the equal of the first film.

The cast are perfect, as many of them already proved last time around. Both Chalamet and Ferguson get to be a bit stronger and meaner this time, which is an interesting change to their characters, Javier Bardem has a bit more fun in his role, and Zendaya gets to do a lot more than just be some mysterious woman in a vision. Christopher Walken and Florence Pugh are sorely underused, as is the wonderful Léa Seydoux, while the likes of Stellan Skarsgård, Dave Bautista, and Josh Brolin are given just time to stay involved in the ongoing plotting and scheming until Austin Butler comes onscreen and threatens to steal the entire movie away from everyone.

I have less to say about this than I had to say about Dune: Part One, but only because it is so perfectly in line with the groundwork set out a few years ago. Villeneuve is arguably one of the best directors around when it comes to creating an entire world in which to immerse viewers (imagine the worlds we could see if he ever worked alongside Guillermo del Toro), and this is incredible stuff. It’s grandiose, it seems to emanate dry heat from every frame, and the prospect of getting to spend more time in this world is the silver lining to the small cloud that is that non-ending.

Much like the spice featured at the heart of the tale, this is pure and powerful stuff. And that’s without even mentioning how depressingly it parallels events in our reality that have been ongoing for decades. 

8/10

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Prime Time: Dune (2020)

It's a bit of a running joke sometimes, but I tend to mention the fact that I've not yet read the source material in a lot of my movie reviews. Films and books are two very different mediums, of course, but knowledge of one can inform your opinion of the other, which is why I try to let people know the full context of my opinion. And it feels even more important than ever to mention it here, considering how many sci-fi fans seem to love the franchise kick-started by Frank Herbert back in 1965.

With the memory of the 1984 film still looming large in my subconscious, I kept delaying a viewing of this film for as long as I could. The cast seemed good enough, the visuals looked great, and I hadn't yet been disappointed by director Denis Villeneuve. I just couldn't bring myself to give it 2 1/2 hours of my life though. Until I could.

Timothée Chalamet plays Paul Atreides, the son of Lady Jessica Atreides (Rebecca Ferguson) and Duke Leto Atreides (Oscar Isaac). This noble family are sent to the planet Arrakis, a hostile environment that also happens to be the home of the most valuable resource in the universe, spice. Spice makes interstellar travel possible, among other things. Arrakis has some hostile native inhabitants, in the shape of both humanoids and the huge sandworms, but the House of Atreides hope to use diplomacy and respect to make the best of their situation, ignorant to the fact that they have been set up for failure. Aside from the political manoeuvring, Lady Jessica spends time helped Paul develop his power, known as "The Voice", and preparing him to fulfil his prophesied potential.

Adapted for the screen by Villeneuve, Jon Spaihts, and Eric Roth, the latter two with very mixed filmographies that wouldn't necessarily lead you to think of them as first main choices for this, Dune is a dense viewing experience that admirably does enough throughout to keep viewers up to speed with the developing intrigue and treachery. It's part one of two, and that was definitely the right choice. In fact, the more of the source material that comes through in each main scene, the more you realise what a fool's errand poor David Lynch was on when he tried to pack everything into one feature back in the mid-1980s.

Packed with gorgeous visuals from start to finish, Villeneuve makes sure to once again build a completely believable and fully-formed environment for the characters to inhabit. The production design, make up, wardrobe, etc, are all absolutely stunning, and displayed beautifully by cinematographer Greig Fraser, and there's a superb Hans Zimmer score to accompany the flawless visuals.

While Chalamet plays the lead role, it's an extra delight to have the rest of the cast so stacked with great performers and familiar faces. Not that Chalamet is bad, but his character is, certainly in this first half of the tale, a bit weak and passive, for the most part. Ferguson and Isaac are effortlessly impressive though, and they have a couple of reliable advisors/warriors in the shape of Jason Momoa and Josh Brolin (both excellent, the latter disappointingly under-used). Stellan Skarsgård is almost unrecognisable, at first anyway, as the repugnant and cold-blooded Baron Harkonnen, Dave Bautista turns up just long enough to play his nephew, and there are excellent contributions from Chang Chen and Sharon Duncan-Brewster. You also have small roles for Javier Bardem and Zendaya, both playing different Arrakis natives who could end up helping our lead to fulfil his promise.

This is the kind of big-budget sci-fi that fans deserve. It feels more mature and intelligent than the usual mainstream releases, it has been crafted with a real care and attention to detail, and Villeneuve and co. have taken care to punctuate the ethereal and meditative mood with enough livelier set-pieces to ensure that the lengthy runtime doesn't feel like an unendurable slog. Many fans will have already seen this, and been won over by it, but I recommend it to anyone else who has been as hesitant as I was. It's worth your time, and I hope everything comes together for a satisfying concluding instalment.

8/10

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Prime Time: Bones And All (2022)

There might be some who would view Bones And All, a romantic drama that shows some people trying to live with a cannibalistic urge, and take the life lessons aspect of it to come up with the pithy alternative title of Hannibal Lecture, but I would be beyond that kind of pathetic attempt at an easy pun, of course.

Director Luca Guadagnino has made great use of a script by David Kajganich, adapting a novel by Camille DeAngelis, to deliver a film that feels impressively grim at times while also feeling very much like a typical Luca Guadagnino film. I find his work very often misses the mark slightly, but this is one of his better outings (although I must note here that I have sadly still to watch the much-praised Call Me By Your Name).

Taylor Russell plays Maren, a girl who has spent her lifetime moving around with, and being protected by, her father (André Holland, offscreen quickly enough, but also delivering some great voiceover work). Her father cannot stick around, however, and he leaves Maren with some advice and information. Traveling alone around the country, Maren meets others just like her, some that seem good (Lee, played by Timothée Chalamet) and some that seem like trouble (including Sully, played by Mark Rylance). Oh, I forgot to mention that Maren is overtaken sometimes by the urge to eat human flesh. Lee, Sully, and others also have the same condition, but not everyone views it as a problem.

The strangest thing about Bones And All, and I am going to assume that this was just me own brain causing problems, was the fact that it kept feeling like a Doctor Sleep offshoot to me. Some plot points are similar, although those same plot points can be found in many other movies, but it was the atmosphere and characters that somehow made me think I was watching something from a world written by Stephen King. I would love to hear from anyone who had a similar reaction, especially if this is a common observation. Otherwise, I will just chalk it up to another example of me being me.

Getting to what the movie is, instead of what my mind kept trying to make it, the cast all work well with the material. Russell is very good in the lead role, believably trying to cope with an unnatural appetite that others have spent time embracing. Chalamet isn’t bad, if less instantly convincing in his role (Chalamet often feels more like Chalamet than a credible new character), and Rylance plays his part so well that he casts a long shadow over most of the film, even without actually being onscreen for more than a handful of scenes. I have already complimented Holland, as the father who discovers his breaking point, and there are a number of effective turns from cast members only given a scene or two in which to make a strong impression. Michael Stuhlberg and David Gordon Green are two highlights, and Chloë Sevigny is another.

Trent Reznor and Atticus Ross create another great score, there’s clean and pleasing cinematography courtesy of Arseni Khachaturan, and every decision made allows for the more horrific moments to be presented in a way that shows restraint without complete shying away from the blood and violence (or the bones and all).

Although falling slightly between two stools, despite the best efforts of all involved, Bones And All is a strange and enjoyable drama that just happens to show people with some very peculiar dietary requirements. I liked it, but I am not sure who I would recommend it to.

7/10

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Netflix And Chill: Don't Look Up (2021)

People denying facts that are literally about to hit them in a major death-strike, a three word slogan rallying round those who decide to politicise a major problem for the entire human race, and media that is complicit in helping to keep the masses placid and uninformed. Don't Look Up is a comedy that foregoes subtlety in an attempt to present something that is horribly close to the truth of our present times.

Written and directed by Adam McKay (from a story co-created by David Sirota), who has made a number of superb comedies in the past decade that use humour to probe major societal problems with surgeon-like precision, this may be an obvious allegory for the many people trying to deny climate change, but it's also yet another McKay movie clearly showing how so many ills of our world are rooted in the same place as every evil, money. A news team (Cate Blanchett and Tyler Perry) want to keep their audience happy for the ratings. A president (Meryl Streep) and her son (Jonah Hill) want to stay high in the polls, and nothing upsets people more than a potentially Extinction Level Event. There's also Peter Isherwell (Mark Rylance), a Steve Jobs/Mark Zuckerberg/Elon Musk amalgamation, a very rich man with just enough scientific knowledge, and smart people on his payroll, to think he has all the answers.

The two lead characters, however, are scientists. Kate Diblasky (Jennifer Lawrence) spotted comet, which is then named after her, and Dr. Randall Mindy (Leonardo DiCaprio) helped to work out the trajectory of it. It is these two people who spend the movie trying to warn everyone of their impending doom, helped by Dr. Teddy Oglethorpe (Rob Morgan), but hindered by so many other people who have their own take on things, in defiance of the truth.

As well as those already mentioned, this packed cast includes roles of varying sizes for Melanie Lynskey, Timothée Chalamet, Ron Perlman, Ariana Grande, Himesh Patel, Michael Chiklis, Robert Joy, and Paul Guilfoyle. Everyone is doing great work here, but the leads are surprisingly perfect in their roles. DiCaprio is allowed to be a very nervy individual, prone to anxiety attacks and a lack of confidence whenever he is in the spotlight. Lawrence's character is less nervy, but also less "media-trained", which works against her trying to warn people of impending doom. She doesn't care about who people are, she doesn't care about who gets upset, and her spiky demeanour is very funny, especially when she is arguing against a typically couldn't-give-less-of-a-shit Hill (who is both the son of the POTUS, and her Chief Of Staff). Morgan is the old hand at playing the game, as frustrated as the other scientists, but able to think up more strategic options to get the message out there. Streep isn't bad, she's certainly a lot of fun, but her character is the one who suffers most from the writing. She's a bit inconsiderate, trying to spin things the best possible way, but the comedy would have been strengthened by making her a complete idiot who couldn't stop herself from saying the dumbest stuff every time she had an opportunity to talk to scientists and people making serious plans. I guess sometimes you can't write anything stranger/funnier than reality. Blanchett is excellent, all super teeth and hair, and I must say that I was pleasantly surprised by Perry working so brilliantly in his co-anchor role, showing a real talent for being able to play comedy well by simply playing it straight (unlike the style of histrionics on display with his Madea character). Lynskey is a sweet and calm presence whenever she's onscreen, Rylance is amusingly unsettling in his constant awkwardness, and Chalamet is a great addition to the second half of the movie, as sweet and calming as Lynskey, in a way. Grande enjoys herself, and has a very amusing main scene talking to a character played by Kid Cudi, Perlman is hilarious in his very small role, and Patel is, well, his character feels completely extraneous, but he's as good as ever.

There's a decent score by Nicholas Britell and a number of songs that work well in the soundtrack, although the best one is the fake "Justt Look Up" song by Grande, as well as excellent sound design throughout, but this is a film mostly about the visuals, from the first sighting of the comet to the unavoidable ending. It's also a film about having your own kind of faith, something that McKay makes a hell of a case for in the third act.

The news keeps telling us how we can do better in our daily lives, with recycling, going vegetarian, using our car less, etc. Don't Look Up serves as a reminder that individuals aren't the big problem. The big problem comes from those with the money, with the power, and it is reassuring to think that their long-term plan for money to buy their way out of everything is a delusion. Because it is. That's not to say that we shouldn't all play our part in trying to ensure that we avoid being the species to destroy the entire planet. It's just that, as well as doing our small household part, we really do need to do whatever it takes to create a massive shift away from the unrelenting damage being done by companies headed up by people who will never make enough money to satisfy them. The irony being that this review will be shared on Facebook and Twitter after I wrote it on my beloved Macbook Pro, and you can all choose to read it on your smartphone of choice. But at least I have never been flown by private jet to a climate change conference. So, y'know, everything in moderation.

But I digress. This is a great comedy that consistently stays on point when it comes to the serious issue at the heart of it (the nonsensical equality that has developed between opinion and facts). A lot of the cast are giving brilliant performances, with the two leads absolutely perfect in their roles, and McKay continues his run of great films that have started to make his filmography a real treat for fans of comedy and social commentary.

8/10

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Mubi Monday: Little Women (2019)

Considering the range of movies from around the world that Mubi provides, I did not expect it to get in the way of this Japanuary train I am on. And yet . . . here we are. So, with time of the essence, and nothing Japanese available from their selection just now, I have decided to take the opportunity to review a very recent movie that was the Mubi Go ticket for last week. Little Women.

Adapted from the source novel by Louisa May Alcott, of course, this is a near-perfect working of the tale from writer-director Greta Gerwig, providing a film that is as entertaining as it is thought-provoking, and showing that Ladybird was no fluke. In fact, although some may think I was a bit too flippant in my criticism of Ladybird, Little Women shows a huge improvement in almost every regard, and we should all appreciate that Gerwig gave herself the fairly daunting task of working on something far from guaranteed to give her more success. But more success she has gained, and rightly so.

I'm NOT going to cover the overall storyline of Little Women. Suffice to say, it is basically about four sisters (played here by Saoirse Ronan, Florence Pugh, Emma Watson, and Eliza Scanlen), their mother (Laura Dern), a charming young man (played by Timothée Chalamet), and ANOTHER charming young man (Louis Garrel). There is a framing device used here that takes the literary talent of Jo (Ronan, the lead character) and allows for some more playfulness than usual, in terms of both addressing attitudes of the time and also working with the audience expectations.

I'm going to mention the very small negative here first. It is an issue I have with the source material, therefore it's not something to blame on Gerwig and co. Beth March (Scanlen's character) is just one of those inherently irritating characters. Her only role is to be the vulnerable one who always seems to be weak or ill. I don't care how good she is at playing the piano, she's the most annoying member of the March clan, which is really saying something when you consider the actions of selfish Amy (Pugh).

Otherwise, there's nothing here I want to criticise. And, trust me, I have been giving it lots of thought since I left the cinema, wondering if my initial delight would settle down and allow me to reconsider anything. There's no need. Nothing to reconsider.

Not only has Gerwig given herself a great gift with her own screenplay, she has ensured it was all delivered exceptionally well by a near-flawless cast. Ronan is about as perfect a Jo March as you could hope for, Pugh is good enough to make Amy bearable during even her worst moments, Scanlen looks suitably fragile, and/or ill, and Watson does just fine as Meg, although she's perhaps stuck with the weakest moments in the film, mostly reduced to being overly earnest and only making one mistake on the road to finding her place in womanhood. Dern has to be 100% goodness and light, which she does admirably, and her sweetness is countered by the sharp tongue and mind of Aunt March (Meryl Streep on top form). Considering the focus of the tale, it's pleasantly surprising to find that all of the men are equally well-cast, and all of them get at least one or two great moments apiece. Chalamet is the charming and safe young star of the moment, and he's perfect here, while Garrel makes a strong impression with his small amount of screentime. Chris Cooper also makes the most of his role, Mr Laurence (the neighbour, and grandfather of Chalamet's character), James Norton plays a character who is perhaps the most grounded of everyone onscreen, Tracy Letts is a lot of fun as the editor who accepts Jo's writings, and Bob Odenkirk is always a welcome presence onscreen, albeit a bit surplus to requirements here as the mainly-absent patriarch of the March clan.

I can't think of a better way Gerwig could have handled this material. It has every main element from the book, of course, and yet it also feels fresh, full of energy, and completely relevant to today. Think of other adaptations of classic novels from the 1800s and they tend to have one main aim for the women, to find true love and marry into a happier life. Little Women has that notion in there, which was probably unavoidable, but it offsets that by showing the many and varied ways that everyone can follow their instincts to make themselves happy, make others happy, and make their own path through life, no matter where others may try to push them. It's a full, rich, experience that embodies the best of cinema, something that you can happily take as pure entertainment, and also something that gives you a lot of moments to think over and discuss with others.

I may have only caught up with it on the 1st January 2020, but this is easily my pick for the best film of 2019.

10/10

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