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Inside

No, not the Bo Burnham comedy special.

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Being trapped in a luxurious apartment in Manhattan that overlooks the beautiful Big Apple sounds like the dream for many. In fact, that was the reality for the top 1% that live in New York City. But what can be one man’s dream can also be another man’s nightmare — just ask Willem Dafoe in his new film, Inside (no, not the Bo Burnham comedy special with a song about Jeff Bezos). Inside is the new psychological thriller directed by Vasillis Katsoupis and stars Dafoe in what’s basically a one-man show that begs the all-important question of What if you modernized Robert Eggers’ The Lighthouse?  

While many films can be simplified when describing their plots, Inside may take the cake in terms of stories that are easy to follow. “Art is for keeps,” says Nemo (Dafoe), an experienced art thief. When a job goes wrong, is stuck inside the penthouse of an affluent man who’s on a business trip. Being that the alarm was set off, Nemo’s left with nothing but his wits and own instincts to survive. 

A still from Inside. Photo courtesy of Focus Features.

And what better actor is there to play a man descending into madness in isolation than Dafoe? It feels like half of his roles have included some bit of his performance in Inside (even The Card Counter came to mind). Nemo begins stressed and anxious when the alarms first ring but soon becomes more content once the realization that he’s stuck sinks in (he comes around to “Macarena,” which plays every time the refrigerator is opened). Throughout the 105-minute runtime, Nemo adapts and begins attempting to find ways out. Bear in mind, he’s left with no running water once the alarm goes off; resulting in him using bowls and buckets to collect water from the in-house garden hoses. But as the film progresses and the despair further sets in, Nemo does too. Dafoe’s a very visceral performer, and he really sells the wear and tear that Nemo endures — like when he begins reciting a stand-up routine to an audience of none.

Credit is also due to director Katsoupis and cinematographer Steve Annis. Unlike The Lighthouse, which was constrained in terms of scope, relatively speaking, Inside really has a big sandbox to play in. It feels as though we go through every nook and cranny of the penthouse with Nemo in the film, even uncovering some dark secrets along the way, and the frames are meaningful. Whether it’s the framing of the imprisoned Nemo on one side of the glass and a bird — who is completely free — or the subtlety of the phrases in neon lights on many of the walls, there are little frames that are useless. 

The score, or lack thereof, was an interesting choice that pays off. Frederik van de Moortel composed the score, and for the first half of the film, it’s barely present. As the film builds toward its crescendo, so does the score, but the soft piano keys that occasionally ring through are perfectly timed. The lack of score further emphasizes the noiseless atmosphere that Nemo is enduring. 

A still from Inside. Photo courtesy of Focus Features.

I guess all of this was an effort to make Inside as suffocating as it can be. An introvert’s dream really does become the stuff of nightmares as Inside progresses, but that’s also where the film runs into some issues. While a 105-minute film is never something to take for granted — try seeing TÁR, Decision to Leave and White Noise within 24 hours — there becomes a point in Inside where the mundane becomes monotonous. It’s abundantly clear that Nemo isn’t getting out anytime soon, but eventually, it feels as though the viewer is just vegging out in this gigantic living room. 

That’s not to say that Inside never attempts to give Nemo some backstory, but it’s clearly something that Katsoupis — who directed and created the story — and writer Vasilis Katsoupis were clearly uninterested in exploring further. With a film like Inside, which primarily takes place in one location, you have an important decision to make: Do you stay indoors for 100% of the runtime like 12 Angry Men, or do you elongate the film’s runtime and try to give characters more background? In this case, I’d rather have no background explicitly shown and leave it to Dafoe and his wonderful voice-over work to fill in the blanks. 

The idea of Nemo’s fixation on art and it being everlasting should have and could have been explored further. The fact that he’s stuck in a penthouse full of art and that the one constant in his life is his sketchbook paves the way for an interesting theme that’s not fully explored. 

A one-man show of just Dafoe may be too much for some, but he’s awesome as usual. He single-handedly makes this particular character study watchable, but it’s a great concept that’s stretched thin throughout its runtime. 


https://www.youtube.com/watch?v=DjODCllZj4w

Inside will be released in theaters on March 17.

FILM RATING

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

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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.

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Flora and Son is a Heartfelt Exploration of Family and Music

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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.

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Love at First Sight Review | Netflix Makes A Great Rom-Com [For Once]

Despite a predictable story, Love at First Sight works tremendously well thanks to the impassioned performances of Haley Lu Richardson and Ben Hardy.

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This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and the actors currently on strike, the movie being covered here wouldn’t exist.

Doesn’t it feel great to watch something that doesn’t feel trite or manipulative? You’ll be surprised to know that this film is coming from Netflix, the king of trite rom-coms. But their latest venture into this world in Love at First Sight is surprisingly good, thanks to the incredible chemistry from Haley Lu Richardson and Ben Hardy.

Directed by Vanessa Caswill and based on Jennifer E. Smith’s The Statistical Probability of Love at First Sight, the film follows Hadley (Richardson), who has unfortunately missed her flight to London by four minutes. She is traveling there for her father’s (Rob Delaney) wedding but dreads seeing him with another woman than her mother. While waiting for her next flight, she meets Oliver (Hardy), who also flies to London for her mother’s (Sally Phillips) memorial.

During the seven-hour flight, the two fall in love, though they get separated before exchanging numbers. At the wedding, she only thinks about reuniting with Oliver, who also longs to be with Hadley during the memorial. Therefore, Hadley attempts to travel through London, hoping to look for him, and you probably know how it will end from there.

Is it predictable? Yes, but it wouldn’t be a rom-com without some familiarity with the proceedings. However, a few effective “twists” prevent the movie from veering into manipulative territory, which is how most Netflix rom-coms usually end up being. For instance, the movie grinds Hadley’s story to a halt by showing us Oliver’s perspective when he gets off the plane, playing with time in a way that makes their relationship stand out above the pact of trite romantic comedies. The near-misses are ridiculous, but you still care about them in the end, even if you know they will fall in love by the time the film’s over. Otherwise, what’s the point?

The movie wouldn’t have worked without solid chemistry from Richardson and Hardy, but the two are dynamite together and perhaps the best pair I’ve seen in a studio-driven romantic comedy this year. They’re funny when they need to be to draw us closer to their surprising match, but they are also deeply human at their core. Some of the movie’s quiet and introspective scenes are strongest, especially near the latter half, where Oliver opens up to Hadley in ways he didn’t think were possible.

Supporting performances from Rob Delaney, Sally Phillips, Dexter Fletcher (yes, that Dexter Fletcher), and Jameela Jamil (playing one of the strangest movie narrators) are also decent, though some character arcs aren’t as developed as others. The way the film presents the narrator isn’t as properly defined as some other movie narrators, though Jamil’s presence is still fun.

The movie falters a bit in the protagonists’ relationships with their parents. It’s developed enough but still needs more meat around the bone for them to feel more complete, especially regarding Oliver’s relationship with her mother. The performances are great, but something feels missing. To talk about it would mean spoiling one of the film’s key subversive moments, which is much smarter than it has any right to be, so I’ll let you discover that on your own.

Still, Love at First Sight is far better than it has any right to be. From the looks of the trailer, it sounded like Netflix was back with yet another fake movie, but it released an earnest and affectionate rom-com that anyone watching will surely enjoy. The cynic in me thought it would be a total waste of time, but it was a breezy and memorable watch, thanks to Haley Lu Richardson and Ben Hardy carrying the film until the end. The statistical probability of love at first sight is quite low, but it’s quite high for this film.

FILM RATING

Love at First Sight is now streaming on Netflix.

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