Reviews

Jagged Mind Review | 20th Digital Studio Makes Its First (And Last) Good Movie

Jagged Mind contains incredible performances from Maisie Richardson-Sellers and Shannon Woodward who craft a terrifying portrait of abuse.

Published

3 months ago

June 23, 2023

Maxance Vincent

TW: The following review discusses domestic abuse. It may also contain spoilers for Jagged Mind.

It took the closure of 20th Digital Studio for them to release their first good movie: Jagged Mind. Adapted from Allyson Morgan’s 2020 short film First Date (which I, unfortunately, was unable to see before this film, and therefore can’t have a barometer to compare the two productions), the movie follows the life of Billie (Maisie Richardson-Sellers), where we meet her in a restaurant, where she meets and starts to date Alex (Shannon Woodward).

At first, their relationship seems loving and naturally builds itself into something wonderful. Billie’s best friend, Kim (Kate Szekely), notices she hasn’t been happier in years. However, Billie starts to experience memory loss that is seemingly tied to her mother’s neurological condition. It’s what her doctor thinks, which seems to be the most rational explanation. Billie inexplicably blacks out and wakes up in a hospital, not remembering why there are scratches on her arms and legs and why she suddenly has flashes of things that may or may not have happened.

The movie consistently goes back in time and resets interactions Billie had with Alex, Kim, or even her ex-girlfriend Christine (Rosaline Elbay), who suddenly disappears after the audiences go back in time and Billie meets Alex again. We quickly discover that Billie is not suffering from a type of neurological disease where her family’s medical history causes blackouts but that Alex is instead manipulating time (and, therefore, Billie) to trap her in an abusive relationship. How is she doing so? She’s using a crystal whose power is to manipulate time and space and can only do so by cutting Billie and obtaining her blood.

That’s how there are inexplicable scratches and why she’s blacking out. The reveal falls a bit flat because a time-manipulating crystal seems quite ridiculous, to be honest. However, the movie works mainly because of its solid performances from Richardson-Sellers and Woodward, who consistently keep the movie engaging and its intrigue fresh. The movie thwarts you immediately in the middle of it all and barely gives you time to breathe as you move from one situation to the next. Richardson-Sellers gives the best performance of her career, deftly balancing a strong dramatic core with Alex while slowly losing her mind and perception of reality.

Jagged Mind [20th Digital Studio]

However, the real show-stealer is Woodward, who plays Alex with a stern sense of terror and emotional complexity. Strangely enough, the most terrifying aspect of Billie’s abusive relationship with Alex isn’t that she’s manipulating time and space but using that as leverage for extreme gaslighting. She knows she doesn’t remember anything when going back in time and that her family has a history of neurological diseases. Because of this, she can easily manipulate her and her best friend by gaslighting them during Kim’s son’s birthday party. That scene is the most terrifying of all and doesn’t require space-time distortion to pit the two best friends against one another. She will then go back in time to ensure she will “forget” anything that happened for Billie but not for everyone else.

It’s the first 20th Digital Studio film where characters are well-written and defined and have fully-formed arcs. You slowly start investing yourself in Billie’s arc, desperately wanting her to free herself from Alex’s clutches, whilst Woodward portrays one of the scariest antagonists of the year. It’s a real shame that the movie starts falling apart with its ridiculous third act, where the space/time manipulation drivel starts to become more confusing than compelling. That’s an aspect of the movie that I won’t try to spoil, but it is, unfortunately, one of the film’s weaker parts and brings the pacing and intrigue down to a surprising halt to throw the audience into a series of clichés and mindless half-baked conclusions.

Apart from that, I was pleasantly surprised at Jagged Mind‘s aesthetic, surprisingly sharp cuts from editor Salvador Pérez Gardcia, and eerie score from Jongnic Bontemps. It is the very best film 20th Digital Studio has crafted. Disney might not have closed it down if they had done cerebral works like this from the studio’s inception. But with dud after dud, it seemed like the right decision. At least we have Jagged Mind, a decent, albeit flawed, psychological horror movie with two great performances giving great emotional depth to a terrifying portrait of abuse.

FILM RATING

Jagged Mind is now available to stream on Hulu.

FILM RATING

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Maxance Vincent

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Reviews

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

Published

2 hours 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

2 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

Reviews

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.

Published

2 days ago

September 18, 2023

Maxance Vincent

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.