Reviews

Call Jane Review | Elizabeth Banks is a Suffera-Jane in New Pro-Choice Drama

PFF: Elizabeth Bank’s performance can’t fully salvadge a middling pro-choice film that has a first half that greatly outweighs its second half.

Published

11 months ago

October 31, 2022

Andrew Korpan

You couldn’t choose a more timely moment than in 2022, the year when Roe v. Wade was overturned a half-century after its original implementation to make a film like Call Jane; a historical drama about the Janes, a group who provided underground abortions in the 1960s for women in need. I’m not here to take a knee-deep stance on the politics one way or another, but what cannot be refuted is that the film is important now more than ever. Bear in mind, the film was shot well before the decision to overturn Roe v. Wade was made as it premiered at this year’s Sundance Film Festival in January. But aside from what Call Jane has to say, does it succeed in its delivery? Well, on occasion, yes. The first half of the film is noticeably stronger than the second act which seems so directionless that it delves into contrived drama just to keep viewers somewhat alert as to what’s going on. Elizabeth Banks delivers great work, but she can’t save the film from its ultimate demise.

Joy (Banks) is a housewife in the 1960s who discovers that she is pregnant with her second child. However, this pregnancy takes a physical toll on her and threatens her life. She attempts to plead her case for a legal abortion to no avail (it is a bit mind-boggling that such a decision is left in the hands of a table full of men, no?) and is left in desperation mode.

A still from ***Call Jane***. Photo courtesy of Roadside Attractions.

As a result, Jane is left with very few options and she somehow ends up coming across the Janes, an underground group of women that provide abortions to women for a fee of $600. This is where Joy meets Virginia (Sigourney Weaver), the ringleader of the group. After her procedure, Jane decides to join forces with the Janes and takes on an important role in the group. For the sake of spoilers, I won’t say exactly what that role requires.

For someone who primarily knows Banks from Zack and Miri and The 40-Year-Old Virgin, it’s a nice change of pace to see her in a dramatic role. She carries the film, and she does a wonderful job portraying the wide range of emotions conveyed by Joy in the early goings of the film. During her first meeting with the Janes, Banks conveys Joy’s naivety, anxiety and trepidation all in the confines of a three-minute scene. She’s remarkable in the role and shows the most interest in what’s occurring on-screen.

That’s not to completely write off Weaver, who has jumped from the recent comedy The Good House, in which she shared the screen with Kevin Kline, to a pro-choice film. Weaver is fine in the scenes she has, but she’s so sporadically used that it feels like the role given to any big actor that is used on the poster of those straight-to-DVD or straight-to-Redbox movies a la Frank Grillo and Bruce Willis. Weaver has a role, sure, but she just feels underused.

It would appear that the events of Call Jane are fictional despite it featuring the Janes. That does beg the question of why the film decides to gloss over certain events such as members of the Janes being arrested before Roe v. Wade ultimately freeing them. Maybe a feel-good ending was desired, or the film just didn’t have any room in its script for this type of scene. Either way, knowing this in hindsight makes the ending of the film feel a bit strange considering the jump that’s taken and what’s looming in the backdrop of the final scene.

But outside of its important message and just as a film, Call Jane lacks any sort of pizzazz. Not that every film needs to cram its blocking or have wild cinematography, but there’s very little about the film that feels special. I guess cinematographer Greta Zozula gets a couple of tracking shots, but outside of those, the film’s framing is just so bland. The score, composed by Isabella Summers, actually does start strong. They pair a classic Hollywood score with the opening tracking shot. My Shazam didn’t recognize the song, so I’m going to assume that this was Summers’ work in this particular scene. It’s just a shame that her score isn’t allowed to really shine anywhere else.

Bland also describes the film in its second half. Call Jane is at its best when it’s taking a close examination of one particular case. We see Joy discover her pregnancy, begin feeling discomfort, plead her case for legal abortion, get recommended a shady alternative (acting suicidal to psychiatrists), discover the Janes and then actually get the procedure done all before she ever joins the Janes as a part of the team. As a result, there is something inherently gripping because you care about the character. Not to say that you don’t care about some of the other patients and women you see, but there’s not an emotional connection and simply put, the film feels distant once Joy joins the Janes. It’s just so dull and the film crosses the finish line like a car that’s on its last legs.

Maybe because of most of the second half’s aimlessness, Call Jane needs to have some conflict to wake up audiences. And since the film is fictionalized anyways, why didn’t they come up with anything better than creating internal drama between some of the Janes including a brief spat about race? Sure, I think that the central conflict about deciding who gets the free abortions is worth talking about, but Call Jane doesn’t do anything much more than pit Gwen (Wunmi Mosaku) in a shouting match with Virginia.

Also, why have an actor of Kate Mara’s talent and name recognition to simply put her in the film as a secondary conflict? She’s in the first 20 minutes pretty prominently and only makes cameo appearances throughout the rest of the film just to add a potential conflict with Will (Chris Messina), Joy’s husband.

It’s hard to dismiss a film with such an informative and powerful message, but I think it’s important to remember that anytime someone decides to choose film as their vehicle (or medium) for their rhetoric, it’s important to not bore your audience. Call Jane does have things to say that should be heard, but I couldn’t blame anyone for dozing off after the first 45 or so. One of Banks’ best performances can’t save a film that may have bit off more than it could chew.

Call Jane had its world premiere at the 2022 Sundance Film Festival on January 21 and is in select theaters now.

FILM RATING

Related Topics:Call Jane PFF REVIEWS Sigourney Weaver

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Andrew Korpan

Andrew is an entertainment journalist and film "critic" who has written for the likes of Above the Line, Below the Line, Collider, Film Focus Online, /Film and The Hollywood Handle among others. Leader of the Kaitlyn Dever Fanclub.

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Reviews

Sung Kang’s ‘Shaky Shivers’ is a Campy Horror-Comedy With Superb Performances

Published

16 hours ago

September 21, 2023

Aayush Sharma

Brooke Markham and VyVy Nguyen in 'Shaky Shivers' (Cineverse)

If you thought that Sung Kang can only thrill you with amazing car stunts, then you are wrong. The acclaimed star is set to take you on an entertaining ride with his directorial debut titled ‘Shaky Shivers’.

The latest horror-comedy film marks the feature directorial debut of Sung Kang, renowned for his roles in the ‘Fast & Furious’ franchise and several other big projects. The movie stars Brooke Markham and VyVy Nguyen, with an ensemble cast including Jimmy Bellinger, Erin Daniels, and Herschel Sparber.

A still from ‘Shaky Shivers’ (Cineverse)

From the very beginning, ‘Shaky Shivers’ grabs hold of your attention with the comedic chemistry between lead actresses Brooke Markham (Lucy) and VyVy Nguyen (Karen). Their hilarious banter and dynamic friendship draw you into their world of magic, mayhem, and monstrous encounters. While a few other characters make appearances, the heart of the film rests on the shoulders of Karen and Lucy, whose relatable and believable friendship makes the story even more bewitching.

One of the best aspects of the film is how Sung Kang skillfully directs the title despite limited cast and limited settings. It still manages to keep audiences engaged and entertained. Kang also pays homage to classic horror films like ‘American Werewolf in London’ and injects fresh energy into the scenes while showcasing his comedic flair.

A still from ‘Shaky Shivers’ (Cineverse)

If you are one of those who enjoy unapologetically goofy and fun movies, ‘Shaky Shivers’ is undoubtedly a fun watch. Embracing its campiness, the film doesn’t try to be anything other than an enjoyable ride filled with supernatural elements. The characters have a helpful book of spells that they use to solve problems, which adds a clever and funny element to the story that will make you laugh..

While categorized as a horror-comedy, ‘Shaky Shivers’ leans more towards comedy than horror. However, don’t worry, as the supernatural beings like werewolves, zombies, and witches make their presence known throughout. The practical effects and impressive monster makeup, reminiscent of old-school horror flicks from the 70s and 80s, immerse you in a world of creatures and enchantment.

A still from ‘Shaky Shivers’ (Cineverse)

The plot of ‘Shaky Shivers’ escalates in an exciting and compelling manner, filled with unpredictable twists and goofy surprises. While it may not leave you terrified, the perfect blend of supernatural ambiance and comedic moments guarantees plenty of laughter and enjoyment.

In conclusion, ‘Shaky Shivers’ is a must-watch horror-comedy that delivers on laughs, friendship, and supernatural encounters. With its engaging storyline, talented cast, and Sung Kang’s impressive directorial debut, the film is a delightful addition to the genre. So grab a large tub of popcorn and take your family for this fun-filled ride.

FILM RATING

Reviews

Sex Education Season 4 is a Spectacular (and Overstuffed) Conclusion to One of Netflix’s Extraordinary Series

Published

1 day ago

September 21, 2023

Aayush Sharma

Official posted of 'Sex Education' Season 4 (Netflix)

When the first season of Sex Education came out on Netflix in 2019, it felt pretty daring and exciting for everyone. While there were many shows about teenagers and sex, ‘Sex Education’ stood out because it talked about these topics openly and covered them in a pretty detailed manner. Without any guesses, the show became really popular and is now considered a classic on Netflix. For 3 long seasons, viewers have seen students of Moordale, and everyone around them, dealing with a lot of complications, but now, it’s time to say goodbye to some of our character as the Netflix series has returned for its fourth and final edition.

At the end of Season 3, Moordale Secondary School closed down. This means that Otis, Eric, Aimee, Jackson, Vivienne, Cal, and Ruby have to go to a new school, Cavendish Sixth Form College. Some of them fit in well, while others struggle. And while Otis tries to focus on his therapy work, he finds out that there are other young people who are experts on relationships and sex in town.

Gillian Anderson as Jean Milburn in ‘Sex Education’ Season 4 (Netflix)

One of the strengths of Sex Education is its diverse and inclusive representation. The show shines a light on various sexual orientations, gender identities, and cultural backgrounds, providing a platform for underrepresented voices. Season 4 continues to explore these themes, introducing new characters who add depth and complexity to the narrative. On ghe other hand, the only problem with Season 4 is that there are too many things going on at once. There are so many sub-plots that might distract you at times and make you feel that this story might have looked good if there was another season in pipeline.

Even then, the writing remains sharp and witty, creating relatable and genuine teenage characters who grapple with their own insecurities and desires.

Ncuti Gatwa as Eric Effiong in Sex Education Season 4 (Netflix)

The performances in ‘Sex Education’ Season 4 are consistently strong. Asa Butterfield brings vulnerability and charm to his role as Otis, portraying the character’s growth and maturity. Ncuti Gatwa shines as Eric, capturing both his strength and vulnerability as he navigates new relationships and personal challenges. Emma Mackey delivers a nuanced performance as Maeve, showcasing her character’s intelligence and emotional depth. Mimi Keene is stupendous as well and bring another layer to her character which was so nice to see. Meanwhile, Gillian Anderson does what she is best at: deliver another extraordinary performance.

Emma Mackey as Maeve in Sex Education Season 4. (Netflix)

On the other hand, Aimee Lou Wood continues to mesmerise us with her charm and simplicity. Directors should definitely look at her and give her a leading role soon because she deserves it. Another actor that is surely a star in the making is Anthony Lexa, who portrays Abbi in Season 4. Her performance adds an additional charm to the series and gives a hope to Trans actors that they can too achieve their dreams.

A still from ‘Sex Education’ Season 4 (Netflix)

The final edition tackles difficult topics with sensitivity and care, highlighting the importance of consent, communication, and understanding in relationships. The show’s ability to tackle these issues head-on without becoming preachy is a testament to its thoughtful storytelling.

While the final season of ‘Sex Education’ does have some pacing and narrative issues, the strength of the performances, the thoughtful exploration of important issues, and the show’s commitment to inclusivity make it a satisfying and engaging watch. It’s bittersweet to say goodbye to these beloved characters, but the legacy of Sex Education will undoubtedly leave a lasting impact on the television landscape.

Sex Education Season 4. (L to R) Mimi Keene as Ruby, Asa Butterfield as Otis in Sex Education Season 4 (Netflix)

In conclusion, ‘Sex Education’ Season 4 continues to deliver a standout and boundary-pushing narrative that explores sexuality, identity, and personal growth with humor and sensitivity. Despite some minor flaws, the show remains a shining example of inclusive storytelling and offers a heartfelt farewell to its beloved characters.

Some goodbyes are hard and this is certainly one of them.

FILM RATING

Reviews

Flora and Son is a Heartfelt Exploration of Family and Music

Published

3 days ago

September 19, 2023

Aayush Sharma

Eve Hewson and Oren Kinlan in a still from 'Flora and Son' (Apple TV+)

Flora and Son, directed by John Carney, tells the compelling story of Flora, a single mother struggling to navigate the challenges of parenthood and find her own identity. Starring Eve Hewson as Flora, the film dives into the complexities of motherhood, relationships, and the power of music in bringing people together. There have been a lot of musicals in recent times that take a very complex route in telling a story, but Flora and Son is a bit different than all of them. The story is really simple and that’s what makes the film such a treat to watch.

The movie opens with Flora enjoying a night out at a club in Dublin, only to end up in a disappointing hook-up. Flora’s life is far from perfect, as she grapples with her troubled teenage son Max (Orén Kinlan) and a less-than-supportive ex-husband, Ian (Jack Reynor). Flora’s interactions with Max are often tense, filled with sarcastic banter and strained attempts to connect with him. As a single mother, Flora faces numerous hardships and setbacks, leading her to doubt her own potential. Her attempts to do right by her son are often met with indifference or resistance. However, a pivotal moment occurs when Flora acquires a guitar for Max, unaware that it will have a profound impact on her own journey. Flora’s decision to learn to play the guitar leads her to Jeff (Joseph Gordon-Levitt), a songwriter and teacher based in California. Despite the distance between them, their connection is palpable, and through music, they bridge the gap. Jeff encourages Flora to embrace her creativity and express herself authentically, unlocking a passion she didn’t know she possessed.

Eve Hewson in a still from ‘Flora and Son’ (Apple TV+)

The performances in Flora and Son are exceptional, particularly Eve Hewson’s portrayal of Flora. She effortlessly portrays a range of emotions, from humor and charm to vulnerability and raw emotion. Hewson’s nuanced performance brings depth and authenticity to the character, making her relatable and captivating. It will be a travesty if she is not spotted by a big filmmaker and gives her a chance to lead another extraordinary movie. On the other hand, Joseph Gordon-Levitt is soulful and gives a performance that is really enchanting. The chemistry between Hewson and Gordon-Levitt, even through virtual interactions, adds an extra layer of depth to their characters’ connection.

Carney’s direction creates an intimate yet heartfelt atmosphere in the film. The use of music as a driving force in the narrative is a testament to Carney’s storytelling prowess, showcasing the transformative power of melodies and lyrics. One of the film’s strengths is its refusal to tie everything up neatly in a predictable manner. Instead, Flora and Son choose a more realistic approach, leaving some loose ends and logistics unresolved. This choice allows the characters to continue their journey of self-discovery, leaving viewers with a sense of hope and possibility.

Eve Hewson and Joseph Gordon-Levitt in a still from ‘Flora and Son’ (Apple TV+)

In conclusion, Flora and Son is a touching exploration of a single mother’s journey to find her voice, both as a musician and as a parent. With exceptional performances and a thoughtful narrative, the film resonates with authenticity and emotional depth. Carney’s direction and the film’s emphasis on the transformative power of music make Flora and Son a standout family drama. The simplicity and innocence is what makes it such a heart-warming watch. This film will make your heart sing.

FILM RATING