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Reviews
Normal People (2020)
"I'm not a religious person but I do sometimes think God made you for me"
Let me preface this review by saying that this is, quite possibly, the best little piece of cinema I've yet to see on silver screen. Much like Waller-Bridges Fleabag, Normal People thrives on a downright perfectly written script. It's innately romantic, that is for sure. We follow our protagonists, Marianne and Connell, through the ups and downs of their late teenage years and the successive student years. This is a relationship that is filled to the brim with electricity, truth and intimacy, the kind of familiarity that is so rare, that seems almost impossible to find. And yet their relationship is hindered by their borderline-maddening lack of communication skills.
My attempt to put into words exactly how i feel about this show seems to be completely in vain - having finished the last episode only last night, I still cannot quite fathom what it is that i felt during its tight six hour runtime. It must've hit something very true to my core. Seldom to you get to have such a visceral, emotional reaction to a show (or a film, for that matter), but when you do, boy, you know it's something extraordinarily special. Normal People manages to sweep you off your feet merely seconds in. It tackles mental health and trauma in ways rarely depicted on screen. But it's the most romantic 360 minutes I've ever seen in my entire life.
Newness (2017)
More a feeling than anything else
Movies like these don't come along very often. This is my third Doremus film (after Like Crazy and Equals) and while Equals probably remains on the top of my list, Newness comes in at a close second. Newness explores the dangers and thrills of online dating in an urban world, where distractions are easily found and easier to be pursued. In the midst of it all, Martin and Gabriela are trying to find their way as a couple. The movie's appeal comes from its splendid directing and cinematography, which was already outstanding in Equals. The wash of hues, the angles, everything fits like a glove and helps underline the vivid and thrilling nature of the movie's theme. It feels organic, authentic and vigorous, not least due to the unadulterated performances of its main cast - Nicholas Hoult and Laia Costa (who was already brilliant in Vicotria) have chemistry coming up the wazoo, it's almost ridiculous. This movie took me on an emotional roller coaster; it's definitely not for everyone. And it's not a perfect movie by any means. Watching this movie simply felt a bit like falling in love, which - in my book - always seems like a good thing.
A Cure for Wellness (2016)
They don't make movies like this anymore
As an avid movie lover, watching A Cure for Wellness made me feel at ease.
From the very opening credits until the fist-clenching finale, I was hooked. And despite having heard a lot of reviewers complain about the length of the film, I didn't care, I didn't mind at all. In fact, I was prepared to watch more.
Even though there are apparent parallels to other thrillers (Shutter Island and The Shining being the most obvious ones), I couldn't help but appreciate the fact that this movie was original. In a movie world that is currently predominated by reboots, remakes, prequels and sequels, watching a movie that is based on an original (and quite honestly, downright bats*** crazy) script, felt very refreshing. But mere originality doesn't make for a good film.
What will strike people most about this movie is also its biggest quality: its visuals. Ever since Refn's The Neon Demon, the bar was set extremely high. And A Cure for Wellness comes very, very close to Refn's visual masterpiece. Every shot in A Cure for Wellness is meticulously framed, the setting is lush and gorgeous. This film is undoubtedly beautiful. Verbinski's attention to detail and immaculate vision elevate this movie from good to great.
This is also not just style over substance. This is a tension-filled, claustrophobic, enthralling hell-ride we get to experience with the, at times quite unlikable, protagonist who, the more he wants to escape, the more he gets trapped in the for walls of this eerie (understatement) spa retreat. This movie keeps you on your toes and, despite its hefty run- time, managed to surprise with its twists and turns.
Another aspect that boosts this movie is its performances. An incredibly under-appreciated Dane DeHaan gives one of, if not his best performance as an initially unappealing business man who doesn't seem to care much about anything other than his job. Yet his eagerness and ambition make for a compelling protagonist. DeHaan has to carry this weighty movie on his shoulders and he does it masterfully. Jason Isaacs as head of the facility gives an ambiguous and sinister performance. This role seemed to be tailor-made for him. And last but not least, Mia Goth, whose looks alone contributed massively to the mood of the film. Her downright child-like performance felt incredibly natural and organic.
The reason I'm not giving it a 10/10 rating is the ending, which has been bashed across the board for being to Hollywood-esque, too over the top, almost as if it didn't quite fit the tone of the movie and I do have to agree to a certain extent. Without giving too much away, the purpose of the ending was to shock. And unfortunately, it backfired. I expected more from a film that set itself up to be more than just a standard thriller and failed to accomplish its goal to fully deliver.
Nevertheless, A Cure for Wellness is my favorite movie of 2017 so far. It is vicious, evil, odd, original, tense and uncomfortable. Unlike anything I've ever seen. And that is as much high praise as it is a triumph for film.