Recent Watch: A Different Man (2024)

 

Finally got around to watching 'A Different Man'. Such an interesting film, the kind that you keep processing and analysing way after the end credits roll. At its core, it covers a very similar ground with 'The Substance', only to explore those themes from a totally different, almost opposite angle. Given how a big part of the plot has to do with the way society treats disability and disfigurement, it could have very easily failed or crossed a line for a hundred different reasons, and yet the film manages to maintain a balance and tell its story with empathy and heart, but also with a heavy dosage of surrealism and dark humour.

Adam Pearson hands down steals the show as Oswald, he is eloquent, funny, charismatic, and acts as a great contrast to Edward's character. But it's also good to see Sebastian Stan get the chance to flex his acting muscles outside of the MCU, and prove once again how skilled he is when it comes to transforming into the characters he plays. From the visible changes in body language highlighting his emotional state to his facial expressions, he gave a brilliant performance as Edward.

For nearly half of the film, we get to see several glimpses of his life as a socially awkward man with neurofibromatosis, how he is perceived by others, the shallowness, hypocrisy, and cruelty that society directs at him in the form of different interactions, small glances, and ignorant comments. We also get to know that he is an aspiring actor, and that he longs for companionship and finding a partner. After he undergoes his transformation, we see him pulling a complete 180, with a rising career in real estate, superficial relationships and sexual encounters, rejecting and leaving behind every aspect of his former self that he can, from his apartment to his own name, which only leads to a new, different form of emptiness for him.

 It is indicative how when, as his new persona, he meets his former neighbour Ingrid again, perhaps the only substantial connection he had formed as Edward when we first met him, he immediately goes back to his old, maybe in a sense his "real" self, shedding the performative salesperson act, and returning to his more genuine awkwardness, mannerisms, and expressions.

The movie tackles many themes, from the shallowness of society to the stigma that is put on certain groups of people, the superficial standards and the importance that we put on looks, and how we treat each other (and our own selves) based on them. It also highlights how the way we perceive others can many times be misguided and can often lead to assumptions that are also false, as we never really know what goes on in someone's life. The biggest theme of 'A Different Man' is clearly the many forms of loneliness and isolation that exist, and how different people experience them, what external and internal factors affect them, and also how self-acceptance and self-love can serve as acts of defiance against societal expectations.

 The film dares to ask many different questions, and though it doesn't really attempt to offer you all the answers, it definitely succeeds in making you think on a deeper level about things.

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‘Squid Game’ S2 Is a Worthy Continuation, Even If It’s Only Half a Season

 

Finished watching Squid Game season 2, and considering that the first season exists perfectly fine as a self-contained story, I wasn't keeping expectations too high, but overall, I really, really liked it. Season 1 was brilliant, and impossible to top, and Season 2 doesn't do that, especially since it's only half of a season, but it's still a worthy continuation for sure.

S2 mainly suffers from the two unavoidable curses of the middle part of a trilogy: it doesn't pack the same punch as the first part, as the shock factor is not the same as when we were first discovering the games and what was actually going on there, and it doesn't offer any satisfying resolution, at least not until Season 3 comes out at some point soon-ish in 2025.

That said, it certainly takes the story to some interesting places, brings back some old characters and introduces several new ones that you can't help but be invested in and hope that, against the odds, they will get some sort of happy ending. And S2 also has its fair share of shocking, heartbreaking, but also really human moments too.

 Above all, despite how commercialised the 'Squid Game' brand has become after the justified success of S1, it's good to see that the show remains focused on getting across its core message, with the symbolism and real-life parallels of the effects of insurmountable debt, greed, despair, gambling addiction, trauma, and social imbalances and division being very clear. If anything, it tones down the subtlety quite a bit, and focuses even more on the players, their incentives and the dynamic between them, and the themes of dehumanisation of those who are deemed as lesser or different.

Some scenes may have dragged a bit more than what felt necessary, and not all questions were answered, but that was to be expected since seasons 2 and 3 are basically one season split in two. But all in all, both the story and the characters remain compelling, so it is still a worthy watch with a promising setup for Season 3, and hopefully the show will stick the landing and offer a satisfying conclusion with how things eventually wrap up.

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Recent Watch: A Charlie Brown Christmas (1965)

It's 59 years since 'A Charlie Brown Christmas' aired on December 9, 1965, and it still remains one of the most beloved holiday viewings for good reason.

There's something heartbreaking, bittersweet, but also, in a way, oddly hopeful in Charlie Brown's depression and the inevitable isolation and loneliness it brings. His inability to feel joy when others celebrate, and the sense of not belonging that comes with it. In him finding value and significance, and maybe even a little bit of empathy for the small, frail tree that nobody else wanted ("I think it needs me"). The ending and the beauty of accepting and loving different and imperfect things (and people) just as they are. The score by Vince Guaraldi.

A gem of a short TV special, that perhaps hits differently and even more poignantly when you watch it again as a grown adult.

"I never thought it was such a bad little tree. It's not bad at all, really. Maybe it just needs a little love."

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Recent Watch: The Holiday (2006)

It's 18 years since the release of 'The Holiday', and I gave it a rewatch on a whim. Still think it's an imperfect, but cute and warm film.

Still can maybe suspend disbelief enough to enjoy it when it comes to the usual rom-com tropes, even for the fact that someone who edits movie trailers for a living can get filthy rich enough to afford a huge Hollywood mansion, heck even for the overall house swap with literally zero vetting thing. But for the life of me, I cannot buy for a second that someone would just casually take off and leave their dog to the care of a complete stranger, and a little part of my brain keeps judging all of these people for it.

Even so, I still feel that the romance between Kate Winslet and Jack Black, having them bonding over earnest convos and a mutual love for cinema, is by far the best, most interesting and wholesome part that carries the movie.

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‘The Substance’ Is a Brilliant Combo of Unhinged Cronenbergian Body Horror and Brutal Social Commentary

 

 

CW for mild references of body dysmorphia and eating disorders.

Ever since I heard about 'The Substance', its premise and its themes, I have been curious to watch it, and even though the hype from the reviews and the reactions was pretty big, it still managed to exceed my expectations. If nothing else, I was surprised with how completely bonkers it becomes, especially in the final act, and how at the same time it manages to deliver a very deep, very real message, if you care to receive it.

The film from start to end is deliberately exaggerated. Every single thing that is shown, and every single thing that happens on camera is on purpose and plays a part in telling the story. The angles used, the bathroom scenes with Demi Moore, the oversexualisation of Margaret Qualley's body that basically weaponises the male gaze against itself, and the antithesis that exists in comparison with the old Hollywood executives who clearly believe that they are exempt from the "it ends at 50" rule they impose on Elizabeth, all work together in building up the plot in an absolutely unnerving and hyperbolic way that actually works in the movie's favour.

On the surface, one could claim that the film is about vanity, but in a world where youth and beauty are so tied to a person's value, where women are told from an early age that they have an expiration date, where eating disorders affect a significant amount of both men and women, and are actually considered the most lethal mental health conditions, and where there are entire industries creating insecurities for people about the most minor things and then selling them the solutions, Sue's choice to take the substance as a last resort to regain some of the social currency she thinks, or she is constantly told that she has lost, is just an exaggerated satirical version of the miracle solutions people are being sold daily for problems that society goes above and beyond to convince them they have.

It's interesting how, with all the out there scenes that the film offers, the one that most people, including myself, remember the most because it resonates and it hits home in a very specific way, is the scene that is also shown in the trailers, where Demi Moore's character is angrily applying and reapplying her makeup, and getting progressively more frustrated with herself for not looking "right". Similarly, the scene at the very beginning where she is standing in front of the mirror, scrutinising every tiny detail on her admittedly gorgeous body, while the camera focuses on her in a way that feels almost invasive.

And I think having someone like Demi Moore, who is objectively an immensely attractive woman, play that part was key in getting the film's message across. Because beyond age and appearance, standing in front of the mirror and nitpicking on every single detail and perceived flaw, while a little spark of self loathing starts gaining ground, is an experience a lot of people, especially women, have had. I guarantee you, there is a big chance that some of the most attractive people you know have gone through something similar.

What is amazing is that, in all its ridiculousness and surrealism, the film manages to offer one of the most accurate depictions of body dysmorphia in two of its simplest scenes. And in a way it becomes nearly heartbreaking seeing Elizabeth miss the date with the sweet, awkward guy who clearly sees her as perfect, and you wish you could tell her to not hate herself out of whatever happiness she can find beyond the shallowness of Hollywood.

Of course being a satire, 'The Substance' takes that "I hate you" self loathing part and turns it up to eleven, and from the middle until the end it starts fully embracing its body horror themes. The final act is unhinged and unpredictable. I certainly didn't see it coming. Offering plenty of gore and moments that will probably make lots of people lose their appetite, and at the same time, in its own unique way delivering a little "fuck you" to the ridiculous beauty standards of society and the industries that have turned youth and human flesh into a commodity, while pushing the narrative that human beings can somehow become expired, or that the only right way to exist is to be young, slim, with a flat belly, and conventionally attractive.

All in all, 'The Substance' is a bonkers horror story that goes places you won't see coming. It's funny, it's disgusting, it's ridiculous, and it's also tragic. The hype and praise are very much deserved, both Demi Moore and Margaret Qualley give it their all in scenes that cannot have been easy to film, and I absolutely want to see more of Coralie Fargeat has to offer. 

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‘Agatha All Along’ Is a Significant Step in the Right Direction

 

I have to admit that I came into 'Agatha All Along' with more curiosity than investment, given that both 'WandaVision' and 'Multiverse of Madness' weren't really my cup of tea, so for something that seemingly relied so heavily on Wanda's lore, it was more my love for the comics and the premise itself that lured me in. All in all, the show took a few episodes to find its pacing, and it had a bit of a slow start, but halfway through it won me over and kept me tuning in every week.

It's undeniable that the cast is one of the show's strongest aspects, even when the writing isn't as brilliant, the performances just manage to make up for it. I also liked that there are significant comedic elements, but during the later episodes the story takes some dark and very emotional turns too, and that part of the plot is executed really well, as at that stage you've come to care for the characters and what happens to them. I'd say that for me, 'Agatha All Along' handled the themes of sadness, grief, and complex morality better than the stories involving Wanda, with every single main character feeling both multi-faceted and, to varying extents, endearing.

The MCU has certainly had its hits and misses, but it has undeniably come a long way, much like with most comic book adaptations in general. Seeing the show embrace diversity, and include queer relationships so organically, was definitely another plus. As was having a main cast primarily consisting of women in their 40s, their 50s, 60s and 70s, without their age ever becoming a gimmick. It feels both refreshing and miles away from the time when the only female member of the Avengers was doing the stereotypical torso-twisting, boob-and-butt pose on the poster, and was characteristically called a "mewling quim" by a villain who saw the beginning of his redemption arc before Black Widow saw her own film happen. For a guy reading this, it may perhaps seem like a triviality or not a big deal, but I think quite a few people who grew up loving comic books, despite the constant reminders that this is primarily the turf of straight white men hinting that, as a fan who doesn't fall into that category, you don't really belong, will get where I'm coming from, and why representation matters.

Kathryn Hahn, Patti LuPone, Sasheer Zamata, Ali Ahn, Debra Jo Rupp, and Aubrey Plaza are all powerhouses both in their comedic and dramatic performances, and Joe Locke more than holds his own in his part, acting more or less as the heart of the group. I do have a few nitpicks, as at times it felt that certain characters got more focus than others, and there were a couple of loose ends that warranted a more fitting conclusion, but overall I liked the revelations and the direction the story took, and I think the show stuck the landing.

So I'm glad Marvel is trying different things, and I'm glad that 'Agatha All Along' exists, and I hope we'll see more attempts at doing something different, especially with how much people clearly seem to love this show. 

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Recent Watch: Heaven Adores You: A Documentary Film About The Life and Music Of Elliott Smith (2014)

 

Elliott Smith has been one of my all time favourite artists and songwriters, yet I somehow never got around to watching 'Heaven Adores You' in the decade that it has been out, until it finally became yesterday's late night watch. Overall it's a beautiful, if unavoidably heartbreaking viewing. I'd honestly call it more of a sincere tribute rather than a documentary, as its primary focus was to showcase his music and give a few snippets of Elliott Smith's life, as described by several of his friends and family members.

I actually liked that the documentary heavily leaned on showing his work as an artist, his creative process, and his inspirations and influences, without putting too much focus on the more tragic aspects of his life and his untimely death. And even when it does speak about his passing, it doesn't sensationalise it or try to exploit it in the slightest. His story is told through the lens of the people who knew and cared about him, and their grief, sadness, and even regret, are apparent as they discuss his inner demons, the darker angles of his psyche, and his struggles with fame and with the labels that were put on him by the critics and the press, that never really resonated with him and his love for creating music.

For the most part, though, 'Heaven Adores You' focuses on celebrating Elliott Smith's life, with a genuine and personal approach. It doesn't go into too much depth or offer many answers, and I wish there was more actual footage of Smith himself showing his own perspective on things, but it still does a great job at showcasing his talent, his fragility and kindness, his sense of humour, the reasons he was so loved, and the vulnerability that he poured into his work and which made his music so timeless and influential. The soundtrack is unsurprisingly brilliant, the cinematography is beautiful, featuring some lovely shots of Portland and Los Angeles, and it's overall both an interesting watch for fans and a great intro for someone interested in discovering Elliott Smith as an artist.

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‘Hellboy: The Crooked Man’ Has Its Heart in the Right Place, but It Is Ultimately Limited by Its Budget

 

I went into ‘Hellboy: The Crooked Man’ with low expectations and an open mind, knowing that with its small project status, zero marketing, and direct to VOD release (with a few limited theatrical releases in some countries), it’d be unfair to judge it on how well it compares to the Guillermo del Toro films. Considering the elephant in the room that is the film’s significantly low budget of $20 million, which is less than one third of what the 2004 Hellboy film had to work with 20 years ago, and less than the reported cost of one episode of the recent ‘She-Hulk’ show, the main thing I’d say about 'The Crooked Man' is that it tries its best to deliver a love letter to the comics with whatever resources it got.

This is a project that Hellboy creator Mike Mignola is directly involved with, both as part of the executive producers team and as a co-writer of the script, and consequently, the movie in many ways does carry the spirit of the books as he gets his chance to bring the character to the screen the way he wanted. The film’s tone is significantly different to all previous Hellboy movies, making a complete turn towards the indie horror genre, with a hint of b-movie on the side, which admittedly is something that mostly works in its favour. Based on the 2008 ‘The Crooked Man’ comics with a story taking place during the 50s, the film is an overall faithful adaptation, with a few additions surrounding Hellboy’s origins and the newly-introduced Bureau for Paranormal Research and Defense special agent, Bobbie Jo Song.

It’d be a lie to say that the very limited budget of ‘The Crooked Man’ doesn’t become obvious very soon, mostly when it comes to the special effects. From dimly lit scenes, to showing things from a certain angle, to things happening off camera, the film tries every trick in the book to find a workaround to its budgetary restrictions, and in all fairness, it actually succeeds more often than it fails. That said, there are moments, especially during daylight scenes, that the fact that you are watching a man wearing a red skinsuit and a gigantic prop hand becomes a little too hard to ignore.

At the same time, Jack Kesy delivers a solid performance in the lead role. His Hellboy is rather different to Ron Perlman’s charismatic and snarky version, but with his dry wit, brooding and no-nonsense personality, and his softer side also coming through the cracks, this does feel like a comic book accurate depiction of the character. I just wish the film took more chances to showcase Hellboy’s vulnerability and distinctive sense of humour as well.

All in all, ‘Hellboy: The Crooked Man’ is a pretty OK film and makes an enjoyable watch, especially if you hold any love for the comics or the indie horror genre. It has some legit fun moments, it’s a self-contained story without attempting to do any more than that, and it’s clearly a project that tries to honour its source material as best as it can. Sometimes it gets a little cheesy, not all characters get their chance to shine, but it manages to tell a Hellboy story in a way that feels reminiscent of the books. I might be off here, but I feel that people coming from the comics might have an easier time digesting this film, compared to those who solely know the character through GDT’s adaptations.

I won't claim that 'Hellboy: The Crooked Man' is a flawless film, but between a blockbuster that looks down upon its source material and attempts to reinvent it coming from that angle, and a small project that genuinely, if sloppily and imperfectly, tries to pay homage to the comics it is based on, I'll personably always pick the latter.

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‘Terminator Zero’ Is One of the Best Installments in the Franchise

‘Terminator Zero’ has certainly been a pleasant surprise. Created and produced by Mattson Tomlin, co-writer of 2022’s ‘The Batman’, and directed by Masashi Kudô, it works perfectly as a standalone, self-contained story in the Terminator universe that doesn’t revolve around the Connors, and doesn’t even require much knowledge of the lore to be enjoyed.

 

The show consists of only 8 episodes that are 25-ish minutes each, so it can be pretty much binge-watched as a film. It introduces a brand new story and characters, taking place in Japan, switching back and forth from the present time of 1997, a day before Judgment Day happens, and 2022. It’s action-packed and gory and fun, while it also takes the franchise to interesting new places. The story explores philosophical themes and raises compelling questions, dabbling in existentialism and at times even in spirituality, in ways not seen in previous installments.

 

The animation is also gorgeous, the characters are diverse and unique, the way time travel is explored is pretty much what someone would expect from a Terminator story. Another big plus is that, while the show is brutally violent and features several instances of nudity, it never feels cheaply exploitative or sadistic. It is well-worth a watch, it’s one of the best installments in the franchise, possibly the best thing to come out since T2.

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32 Years of 'Batman: The Animated Series'

Today marks the 32nd anniversary of 'Batman: The Animated Series', a show that has definitely earned its timeless classic status since its premiere back in 1992. The series didn't just define the way a whole generation viewed the Dark Knight, but also significantly contributed in proving that animation as an art form can without question be a serious storytelling medium, with nothing to envy from live action. In fact, a lot of the live action comic book adaptations that came after it lacked the depth and character development that were so characteristic of the series.

With its distinctive Art Deco and Noir animation style and taking clear inspirations from the Burton films, BTAS broke away from the campiness of Adam West's Batman, but also introduced new layers and depth to Bruce Wayne that went beyond the comic book adaptations of the character that existed until then. The show's amazing writing, combined with Kevin Conroy's incomparable performance, gave the character his heart, and helped Batman break out of the monotone, brooding stereotype, showing us a multilayered human version of the Dark Knight that made him more than a vigilante out for vengeance.

With Mark Hamill's chilling performance as the Joker, and with the numerous complex and dark plots that redefined characters like Mr. Freeze, gave villains motivations based on tragedy, unfairness, and situations that were more grey than the usual black-and-white  definition of evil one would expect from a Saturday morning cartoon, and introduced the now super-popular Harley Quinn, the show never shied away from pushing boundaries and exploring adult themes in a way that respected its children audience, treating them as intelligent viewers who would be able to appreciate such storylines. It's no surprise that BTAS has stood the test of time so well and has defined the legacy of Bruce Timm, Paul Dini, and the numerous creative people that helped shape it, and 3 decades later it is still an intriguing watch, even for grown adults.

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