The prospect of forging one’s path at the cost of leaving others behind is certainly far from an original narrative for the coming-of-age drama. For first-time writer & director Annabelle Attanasio however, what she achieves with ‘Mickey & The Bear’ is a heart-wrenching, visceral piece on the pursuit of personal gratification, while attempting to balance perceived family obligation, as fiercely headstrong Michaela (Mickey) is the sole provider and carer for her addict, veteran father Hank. A gifted young woman, Mickey is wholly a likeable, well-rounded character, without stripping an ounce of her humanity. She has flaws, she has emotions and her limits. Almost as if this coming-of-age narrative was written by a woman, for a woman. Camila Morrone’s method of characterisation is subdued, though sharing her on-screen father’s temper on occasion.
To celebrate the last decade 2010-2019, we are counting down the best actresses and discussing some of their most notable and memorable performances of the decade. With the help of Film Twitter, the ITOL team has selected 30 actresses. Writer James Cain looks at Rosamund Pike's performance in "Gone Girl" and why it's the best of her career.
To celebrate the last decade 2010-2019, we are counting down the best actresses and discussing some of their most notable and memorable performances of the decade. With the help of Film Twitter, the ITOL team has selected 30 actresses. Writer Caz Armstrong examines Saoirse Ronan career over the last decade, and discusses some of her most memorable roles.
Numa Perrier’s feature debut “Jezebel” (2019) is a deeply personal film that makes viewers feel like they’re a part of the action. Perrier, the writer director, and co-star of the film, based the film on her experiences as a cam girl. The film is an important step in humanizing sex workers, a group of people who are often looked down on and disrespected. At its heart, “Jezebel” is about sisterhood and grief through the lens of two sex workers struggling financially and emotionally.
Year: 2019 Runtime: 120 Minutes Director/Writer: Yuval Adler Stars: Diane Kruger, Martin Freeman, Cas Anvar By Mique Watson Adapted from the novel “The English Teacher”, writer/director Yuval Adler has made a film wherein for almost the entire run time, we have no idea what and who it is about: is about Rachel, a woman recruited... Continue Reading →
I have never read the book "Little Women" by Louisa May Alcott or seen any of the previous adaptations. I have little interest in period dramas, frocks and debutant balls. All I knew about the film was that there were a bunch of teenage-ish girls, it was written 150 years ago and the Joey on Friends got upset about one of the characters dying.
So, I knew I’d be a hard sell on this but after a shaky start this film really won me over.
2015. It had been 10 years since the Star Wars saga had wrapped up with 2005’s "Revenge of the Sith". There I was standing in a massive line around noon waiting to get into a 7 pm showing of "Star Wars: The Force Awakens". The first outing post-Disney buy out. No one quite knew what to expect. Reviews hadn’t gone live, advance screenings started at 3pm, the script had been kept tightly under wraps, it was all up in the air.
The marketing at this point had all eyes on Finn as the supposed new Jedi of this trilogy, with Rey as the leia type character. Portrayed by Daisy Ridley, nothing was known about this character, other than she was a scavenger who played into the story somehow. Little did we know she would actually be the main character of this new trilogy. So it took everyone by surprise when at the end it was her wielding the lightsaber in the climactic battle against Kylo Ren play by Adam Driver.
It’s not an easy task to adapt one of the most famous American novels of all time for the screen. Not only has Louisa May Alcott’s “Little Women” been beloved since it was first published in 1868, it has also had several well-regarded film adaptations before, starring actresses like Katharine Hepburn and Winona Ryder. And yet, if anyone was going to take on this mammoth task, Greta Gerwig seems like the perfect person. Gerwig broke onto the directing scene in 2017 with her first film, “Lady Bird,” a coming-of-age story starring Saoirse Ronan. She returns this year with one of the most iconic female coming-of-age stories of all time, “Little Women,” refreshed and updated for a modern audience without losing any of the spirit of the book -- and once again starring Saoirse Ronan.
We often associate the “male gaze” in cinema to how female sexuality is portrayed, but I would argue that it exists when it comes to modern military movies, as well. This is one of the thoughts that found itself moving through my brain rewatching Kathryn Bigelow’s “Zero Dark Thirty.” There is a jingoistic, action-driven version of this or “The Hurt Locker,” Bigelow’s Oscar-winning drama about bomb diffusers in Iraq, that could be made by a Michael Bay or Peter Berg. It would have been empty thrills compared to the contemplative work Bigelow does in both films.