Hollywood has a knack for producing extraordinary movies year after year, but there comes a time when the industry exceeds all expectations with a gem of a movie like ‘Past Lives.’ A mesmerizing film directed by the talented Celine Song takes audiences on an unparalleled journey of self-discovery and the exploration of our interconnectedness through time. This thought-provoking movie connects various lives, blurring the boundaries of reality and immersing viewers in a transcendental tale.

The romantic drama showcases Song’s remarkable storytelling ability, presenting a narrative that delicately balances emotion and intellect. ‘Past Lives’ starts with Hae Sung (Teo Yoo), Nora (Greta Lee), and Arthur (John Magaro) sitting at a bar. An unseen couple watches and tries to guess their relationship. We are taken back in time and get all the vital details about the relationship they have been sharing throughout various parts of their lives. One of the best aspects of the movie is how Son interconnects the lives of diverse characters across different periods and unveils the secrets that bind them together. The film’s nonlinear structure allows for a gripping exploration of multiple storylines, ensuring an engaging and enthralling experience.

Greta Lee in a still from ‘Past Lives’ (A24)

Visually, ‘Past Lives’ is an absolute feast for the eyes. The poignant visuals heighten the emotional resonance of the narrative, leaving a lasting impression on the viewer. Accompanying the stunning visuals and sound design is an enchanting score that perfectly complements the film’s ethereal quality. Beyond its visual and musical splendor, the movie invites viewers to contemplate profound themes and philosophical questions. The film raises thought-provoking inquiries about the nature of existence, the way people’s lives are connected, and the impact of our actions across time. The script forces the moviegoers to reflect on the concept of destiny, choices, and the ripple effects they create.

Furthermore, the performances in ‘Past Lives’ are nothing short of extraordinary. The ensemble cast, led by seasoned actors, delivers nuanced and heartfelt portrayals, breathing life into their respective characters. Greta Lee is enchanting as Nora and delivers a performance that is undoubtedly going to give her all the buzz during the awards season. Meanwhile, Teo Yoo is just as brilliant. The talent on display evokes genuine empathy, enhancing the overall experience.

A still from ‘Past Lives’ (A24)

Even though the awards season is far away from where we are, we have already got a strong contender for Best Picture and top acting categories in the form of ‘Past Lives.’ It is quite rare these days to see a romantic story that provides such an immersive experience and we are glad that Celine Song’s film has given us a movie that makes us wonder why such romantic movies are not made anymore.

‘Past Lives’ is a modern masterpiece.

Written and directed by Dan Clark, this fairly star studded independent film follows a young couple who are stuck in a financial situation, and decide to kidnap a sleazy conservative politician in order to receive a ransom, that will allow them to escape their static lives.

Patrick Baladi (The Office) plays Hardy our creepy politician, Kelly Wenham (Double Date) plays Maggie, a complex woman who seemingly is always drawn to the “bad boy”, Jack Parry-Jones (The Crown) plays Brian our voice of reason within all of this, or is he?

A Kind of Kidnapping [2023]

The character development is well written and allows the space for character arcs, unlike a lot of small films, where there isn’t that room in the script. The three main leads feel very grounded and familiar, everyone knows someone like this in their life or perhaps public figures in the media.

The performances of the main three lead actors are great, if it wasn’t for them, I don’t think this film would work as well. Alongside the strong performances, the editing of the film helped to navigate this non-linear plot and allowed the film to peel aways the layers of backstory which all helped to create a stronger character driven piece.

A Kind of Kidnapping [2023]

As the film was nearing the final act,  it felt as though it was dragging a little. Dan Clark mentioned in the Q&A after the screening how this was a short film before and I can definitely see how it could work in a confined setting really well. Maybe there was a bit of padding in second to third act to reach that feautre length requirement that didn’t aid certain character moments.

If you want to hear my full thoughts, the best thing to do is check out my review over on YouTube and let me know your thoughts in the comments. 

When independent film is fighting for its life, A Kind of Kidnapping is the light in the dark. This is one of the better British produced indie films I’ve seen in a long time. 

A Kind of Kidnapping is out on digital on 24th July on iTunes, Amazon, Google and Sky.

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

WARNING: SPOILERS AHEAD

Just wrapped up the first three episodes of the ‘Sex and the City’ reboot, “And Just Like That…” and I must say, one thing is clear—the SEX is back! After rewatching the first season and the initial episodes of the second season, it’s evident that the show has regained its essence.

The cast includes Sarah Jessica Parker as Carrie Bradshaw, Kristin Davis as Charlotte York-Goldenblatt, Cynthia Nixon as Miranda Hobbes, Sarita Choudhury as Seema, Nicole Ari Parker as Lissa Todd Wexley (LTW), Sara Ramirez as Che Diaz, Karen Pittman as Nya Wallace, and Mario Cantone as Anthony Marintino. In the first season, the absence of the fourth musketeer, Samantha Jones (played by Kim Cattrall), was addressed as she had taken a job in London after a fallout with Carrie. However, the major bombshell came in the first episode when Carrie’s long-time love, John James Preston (played by Chris Noth), known as ‘Mr. Big,’ died from a heart attack.

Miranda’s romance with the queer non-binary comedian Che Diaz was something that did not go down well with die-hard SATC fans as it was something that Miranda would not do, especially in the last season, she leaves her husband Steve (played by David Eigenberg). But as the first season progressed, the show did begin to get a life of its own which, to me, made me want the show to have a second season.

Charlotte, in the first two episodes, continues to be herself—the Charlotte we all love. In the first two episodes, there isn’t much in terms of character development—especially when you consider the season one finale—for this mom of two.

The chemistry between Franklin (played by Ivan Hernandez) and Carrie was something to die for. I was particularly excited for the fact that Carrie was trying to move on from Big and the first two episodes explored that—though not explicitly mentioning him, but the dilemma that she was in about whether she wanted a relationship or just a casual Thursday.

However, come the third episode, you see Carrie narrating the book she wrote after Big’s passing. Narrating the words brought back memories of the night Big died and was unable to complete reading the chapter that detailed the specifics of that horrific night. This was relatable as it highlights the inability to move on from a loved one’s death.

For Miranda, all’s not well in sunny California as Miranda’s son Brady (played by Niall Cunningham) is experiencing suicidal thoughts after his breakup with Luisa. Cracks emerge between Miranda and Che. The two, who moved to LA, for Che’s Netflix show and Miranda were constantly worried about Brady. Che dismissed Miranda’s apprehensions about Brady and all Che could say was: “He’s just a kid”?  Miranda was in full Momma bear mode while speaking to Charlotte about Brady and returning to New York.

Meanwhile, Charlotte and LTW are excited about the fact that both made a list that has been circulating in their children’s school known as the “MILF list”. This is creepy on so many levels as the two are giddy about it—which is problematic as hell. Just when you thought the writers learnt from their mistakes in the previous season, they do this—meaning little to no growth on the writers’ part.

Nya’s story intrigues me the most. Her husband is on tour and both are having a rocky marriage as they battle the most common issue that every couple faces—wanting kids. While both initially wanted children and have been trying hard to have a baby (in Season 1), Nya felt the toll of wanting a baby emotionally. In the two episodes, I’d award the most cringeworthy moment to this scene was when Nya facetime Andre and finds him with another woman in his hotel room ‘writing songs’ and he says that he hasn’t cheated on Nya yet. But then it gets worse. Andre then suggests having a surrogate with the motel girl. Credit must be given to Nya for dumping him—and good for her.  In the third episode, you see her trying to move on from her husband and coming into her own. I am starting to like her.

Whereas Seema almost ditches going to the Met Ball to meet her boyfriend Zed’s son–an important step in her relationship with her beau. But there comes a twist—he still lives with his ex-wife which normally and quite rightly so is deemed a major red flag. But Seema’s hairstylist tells her that sometimes she simply looks for red flags where she ends up ditching her longtime stylist but then comes back to him after the new stylist messed her hair up.

I liked the third episode far more than the first two episodes as it was the one that resonated most with me. The third episode dealt with the theme of loss and the fear of losing someone. From Carrie not recovering completely from Big’s death to Seema almost losing her Birkin after being mugged while walking down the street. The Birkin meant something to her—it was not about the money. The two ladies—Carrie and Seema—hang out in a pub where they spot a group of attractive Australian men.

And here we go again with Che—the verdict is out: they’re a monster! From casually revealing that they’re still married to a man to dismissing Miranda’s fears when her son has suicidal thoughts, they hit peak narcissism and yell “You ruined the family scene!” which shows how petty and self-centred they are. Moreover, their comedy is so bad that I couldn’t even fake laugh at their ‘jokes’ not to mention—constantly gaslighting Miranda in the first season. While Che has been a lot more subdued this season, still does not make me like them. I wish Ramirez sang more—perhaps that would make Che a little less annoying. But the question must be asked? Have the writers given up on the idea of forcing us to like the Che-Miranda duo? If that’s the case, I am so for it. I would have preferred Nya to be Miranda’s love interest.

Another thought that crossed my mind: while it was nice to see that the fashion is back along with the brunches, I asked myself as I watched the three episodes: “Which NYC do these characters live in?” While the second season explores mature themes like grief, I couldn’t help but wonder why these characters’ glam bubble is not being busted when the real Big Apple is not as glamorous as AJLT portrays it to be. But in a world ravaged by war and a pandemic coupled with an out-of-control cost-of-living crisis, the second season of the ‘Sex and the City’ reboot is an escape from reality.

In TLDR (Too Long Didn’t Read) terms, the second season so far is a lot less cringe than the first.

And Just Like That… is streaming on Max in the U.S. and in the UK, it can be streamed on Sky Comedy and Now.