Capturing the rave scene in Scotland in its dying days, Brian Welsh’s spirited Beats is a slice-of-life portrait of the kids that won’t go down without a fight. It’s 1994, and best friends Johnno (Cristian Ortega) and Spanner (Lorne Macdonald) are on the phone chatting excitedly about the new EDM track they’ve discovered. “I waited two days on the radio to tape it,” Spanner says, immediately evoking a nostalgic romanticism when music was discovered like treasure.
Beats is propelled by an old fart piece of legislation: Criminal Justice and Public Order Bill which sets a ban on “gatherings around music characterized wholly or predominantly by the emission of a succession of repetitive beats.” Characters will spit this phrase at several moments, tutting the T’s like a sort of battle cry. No stuffy laws will subdue the freewheeling spirit of kids just looking to escape from the West Lothian grey. The bill is only fuel for the fire.
Continue reading “Glasgow Film Festival ’19: Festival Closer ‘Beats’ is a Vibrant Look at Scotland’s Rave Scene”
“He is the most attractive man in the world,” says Eve (Lily Rose-Depp) at one point about Abel (Louis Garrel), the man she’s had a crush on since childhood. Usually, I would think this is narcissistic—after all, this is a line written by Garrel (and legendary screenwriter Jean-Claude Carrière) about a character that he plays. But, let’s be honest, is he actually wrong? ‘Write what you know’ is the old saying, and what Garrel knows is: 1) he’s very good-looking and 2) how to write a charming film of a decidedly very French variety.
Continue reading “Glasgow Film Festival ’19: ‘A Faithful Man’ is a Very French Sparkling Gem”
You have to give it to Netflix – I’m not sure another studio would’ve had the guts to fund a film as original and ridiculous as Velvet Buzzsaw. Part satire-part supernatural slasher flick, Nightcrawler director Dan Gilroy reunites with Jake Gyllenhaal and Rene Russo to make a mockery of the LA art scene. It’s a world that’s ripe for parody, from the money-hungry agents to the pretentious critics and the assistants trying to get a foot in the door. There’s a lot of material to cover – and that might just be the problem.
Continue reading “The Insightful Satire of ‘Velvet Buzzsaw’ is Lost Behind its Broad Brushstrokes”
2018 has finally come to an end. Despite the political hellfire it raged for its 365-day duration, 2018 brought us films like Shoplifters, Roma, Cold War, The Rider, and Revenge (you can check out all of our favorites of 2018 here). It was a year for badass women on screen. It was a year for horses. But, it was also a year that brought us disappointments and tragedies, such as Green Book and Bohemian Rhapsody, who both won Golden Globes.
Despite that tragedy, 2019 still holds a treasure trove of cinema, from Godzilla: King of the Monsters and Star Wars: Episode IX to High Life and Jojo Rabbit. Jordan Peele is releasing another horror movie, Edward Cullen is going to space, Isabelle Huppert is going to try and kidnap Chloe Grace Moretz. That’s just a taste of what this year will bring to the big (and sometimes small) screens.
Without further ado, here are our most anticipated films of 2019.
Continue reading “Much Ado’s Most Anticipated Films of 2019”
Here it is, the season we all hate to love and love to hate, the Awards Season! Predictions, staying up to watch awards, fighting our favourites until the Oscars when our exhaustion reaches its peak and we all go “I never want to live through another season again!” until the festivals hit and Here We Go Again! Critics circles already started naming their winners but the fun officially starts tonight with Golden Globes. Here at Much Ado we love our predictions so please enjoy reading the winners our hearts desire, and those we think will snatch the award!
Continue reading “Golden Globes Predictions”
I should start by saying Julie Andrews’ films were the foundation of my childhood. Mary Poppins, The Princess Diaries and The Sound of Music provided the soundtrack to the Abu Dhabi flat I shared with my family. It wasn’t until last year that I learned that the latter is almost three hours long — so entranced I was with Andrews’ balancing act of proper lady and free spirit, time seemed to melt away. So I entered the sequel to one of my formative films with measured expectations. Rob Marshall’s Mary Poppins Returns is certainly charming in the moment —its bright colours and jaunty musical numbers can make the feet of biggest skeptics tap— but after awhile the spell dissipates. On the drive home, I listened to the soundtrack — not to Mary Poppins Returns, but to the original film. Julie Andrews’ spoonful of sugar goes down much smoother.
Continue reading “‘Mary Poppins Returns’ Loses the Magic of the Original”
Suspiria is the devil dressed in tights and leotards. She allures and intrigues, disturbs and horrifies. Her body contorts into an array of grotesque positions. Limbs bend and break, bones protrude from taut skin. Yet the dance she performs is visceral, so fascinating it’s impossible to look away.
A remake of Dario Argento’s horror classic seems like an unexpected choice for Luca Guadagnino’s follow-up to Call Me By Your Name, but it’s a welcome change of pace. Mostly known for making movies about rich people lounging around pools in Italy, Guadagnino has instead transported us to 1970s Berlin. Though it should be said that this iteration of Suspiria is less a remake and more like the creepy cousin no one wants to talk to at the family gathering.
Continue reading “‘Suspiria’ is an Unholy Concoction of Blood and Guts”