LOVERS ON THE ROCKS – Beast (2017), dir: Michael Pearce

beast-posterAltitude Film Entertainment

There are films you know you’ll enjoy after the first few minutes and Beast is one of them as it sets off to a powerful and laconic prologue. Shots of the magnificent Jersey landscape set the canvas of this painful and crude story, and a pertinent metaphor about captive killer whales instantly draws an accurate psychological portrait of our heroine, Moll.

As the genres of drama, romance and crime thriller blend here, Michael Pearce tells an eerie tale where beasts feed from the ones closest to them or camouflage their monstrous nature with fake smiles and bounded heads, or prey on the weak when their passions are beyond control. The story is complex and smart and the performances impeccable and thrilling. The film has a dreamlike quality where Moll and Pascal experience their romantic love but takes a violent turn when deep inner confrontations occur in the face of the inevitable resolution of the tragedy.

beast-9Altitude Film Entertainment

The two lovers give their first kiss on the edge of a rocky cliff, one wrong step and the fall is uninterrupted. It’s crystal clear right away that there are no half measures with this relationship, it is the kind that brings about radical change and reformation in one’s self. Jessie Buckley gives a haunting and magnetising performance that keeps you glued to the screen, and Johnny Flynn delivers a complicated character, an odd combination of a vulnerable rabbit and a cunning, lethal fox.

Moll’s evolution throughout the film is an ode to liberation but also a cautionary tale against the obsession of love. She rejects her suffocating family, and her overbearing and psychologically abusive mother thanks to the strength and encouragement she draws from Pascal, a man of animalistic presence and natural integrity.

beast-7Altitude Film Entertainment

Pascal is the one who suggests that mistakes are for everyone and are better left in the past. However, up till the end Moll is bearing the guilt of a childhood mistake, which took immense dimensions due to her mother’s consuming fear. I couldn’t help but think that Moll is made to believe she is dangerous and wild when in fact, if she had been treated with more kindness, she would have thrived.  Her flaw is magnified and the daily humiliations she succumbs to compromise her ability to control her impulses and to think rationally.

beast-6Altitude Film Entertainment

Beast brought in mind Wentworth Miller’s Stoker (2013), directed by Park Chan-wook. The relationship between India (Mia Wasikowska) and her uncle, Charlie (Matthew Goode) bear similar elements to that of Moll and Pascal. Lead performances and cinematic style differ considerably but both films tell the story of two individuals who have always been lonely in a rejecting world and finally, find acceptance and a liberating push through their relationship. For India and Moll this takes the form of a sexual awakening and a journey of self-discovery that takes them in the darkest corners of their minds.

Another noticeable similarity is that of the ending, Moll and India set themselves apart from the madness of their “partners in crime” by acting as improbable avengers. The catharsis of both endings also proves that despite natural and primitive inclinations, it is the choices we make in critical moments that define us.

beast-4Altitude Film Entertainment

After watching Beast, you might be numb by the amalgam of complicated emotions it evokes, feel like driving somewhere far and enjoying the view over a craggy peak. You might also contemplate upon the apocryphal realities we resort to, to crush the fantasy, or alternatively to protect it is a double-edged sword. Finally, you might admit the common belief that opposites attract and liked repel is true only when it comes to magnetism.

 

Advertisements

Poisonous Collusion of Rival Lovers – Phantom Thread (2017), dir: Paul Thomas Anderson

Phantom_Thread_Poster

It is incredible how immersive is the experience that Anderson gifted us with his incredible, precious creation that resembles an elegant poem. A film that is as dramatic as anecdotal and funny by highlighting the comedy that thrives in uncomfortable and absurd moments of hyperbole. Excellent angles, stills and shaking shots, portraits and landscapes, a plethora of gazes at a beautiful time and space. An unconventional film about extraordinary people that engage in a challenging relationship. Anderson delivers a film so beautifully shot and crafted that lures you into the obsessive control of the couturier, the rebellious passion of the muse/waitress, and the struggling influence of the sister.

pt-2

Jonny Greenwood’s orchestral score is truly magnificent and elegant as it intertwines with instrumental classical pieces that enable our transportation into 1950’s London. Don’t be surprised if you feel the pavement under your feet, your fingertips sliding over the fabrics, if you can notice every line on the protagonists’ expression and sense every breath they draw. Anderson constructed a robust world with such impeccable performers embedded that each moment gradually intensifies the cinematic experience and delves you deeper into the soul of its personas.

Reynolds Woodcock (Daniel Day-Lewis) has been carrying a devastating burden throughout his life, calling it a curse and has yet to get over his mother’s death. It seems that by experiencing the loss of his first and most intense love, his mother, who taught him generosity and giving has by admittedly, tragic irony caused him to stubbornly refuse to love anyone ever again. He is not lost completely though to the darkest misery of a loveless existence, his relationship with Alma inevitably restructures his life and mindset.

pt-7

The genius of the film lies in the powerful and genuine characters that even in prolonged silence reveal layer by layer the complexity of their psyche. Reynolds in his stillness and persistent gaze, dressed with an overly sweet smile unveils a sickening desire to control every detail in his environment and within him of course by banishing his instincts and feelings. From the first date with Alma, it becomes apparent how desperately he needs to grasp onto his rules and firm convictions.

Reynold’s sister (Lesley Manville) acquires a haunting presence over his life. He seems not to bear life without her, even her absence for a few hours disorients him, however she constitutes a constant reminder of his fears and self-limiting lifestyle. Alma is portrayed with ample naturality and piercing expressiveness by Vicky Krieps who proves herself a charismatic partner to Daniel Day-Lewis as they share with both talent and chemistry.

pt-8

There are stunning scenes that elevate Phantom Thread to a classic. For instance, the scene where a jealous Reynolds seeks Alma in despair at the colourful and tacky New Year’s party is breathtakingly intense and dramatic. There are no words in this scene but the performances have an emotional transparency that spurs various thoughts around love, relationships and introspective analysis. The surprise dinner scene is a delicious game involving the power of will, comical exaggerations and a deep sadness. Towards the end, again the dinner scene is terrific as the game continues between the two until the climactic moment of surrender occurs, layered with the release of their passion.

In Phantom Thread we witness two diametrically opposed individuals fighting in their own unique ways to stay together while maintaining their selves intact. Reynolds’s way is to provoke with his spoilt, childish manner and to violently persist in his absurdities. It appears that his ultimate goal is to find a worthy rival that can earn his respect and trust, both necessary to enable his surrender. Alma’s way is an initial submissive stance that is later replaced with a fierce and brave confrontation and declaration of independent will.

pt-5

Their conflict has a personality of its own and spreads over the different stages of their relationship, from their first encounter to their cohabitation, to their marriage and finally, to their utter openness and mutual understanding. Unorthodox and peculiar, the resolution is made possible by the accidental discovery that one can fulfil the other’s desire and experience pleasure simultaneously.

Reynolds seems to have no control over his obsessiveness but Alma seems to have come up with a… creative way to disarm him and return him to the infant stage where he can always revive the experience of having a mother figure taking care of him. Alma on the other hand perceives love as the absolute closeness and craves to bring her strong-looking partner to a state of weakness and total physical and emotional dependence on her thus, to fulfil her need to be a nurturer and the centre of his world.

pt-3

Are these characters troubled? Certainly! But so are we all, trapped in our shortcomings and subconsciously, if not purposefully seeking the people who can cater to our needs. This scandalous conflict resolution brought La sirène du Mississipi (1969) in mind, where Julie (Catherine Deneuve) and Louis (Jean-Paul Belmondo) experience the same oxymoron contradiction that marries lust and loss.

To leave yourself entirely defenceless in the care of the one you love by embracing the dangers but also admitting to the dark hedonism of this state is a powerful experience to convey through storytelling and as Truffaut did in 1969 so does Anderson in this spellbinding ghost story. In the history of cinema, we can find love stories underpinned by seemingly harmful acts, like in Suspicion (1941) or My Cousin Rachel (2017) however in Phantom Thread the act becomes a mechanism for catharsis and we suspect, a tactic for bringing harmony into the relationship, a remedy almost.

pt-1

After the film you might feel spellbound and mesmerised by Anderson’s vintage world and its’ captivating performances, you might immerse into Greenwood’s score, indulge yourself with some delicious pastry for breakfast while contemplating about how obsessive you can become with your cyclical habits. You might also place yourself in this unorthodox couple’s shoes by reconsidering the value of seemingly absurd or dangerous acts and by acknowledging the risk of initiating or/and admitting the darkest side of one’s sexuality.

Labour of love – God’s Own Country (2017), dir: Francis Lee

DHvBpJNXYAAA_WE

Francis Lee’s directorial debut is a raw, realistic, and sensual love story between a miserable farmer and his newly hired worker. In an attempt to present the harsh realities of the farming life in addition to not fitting in as he’s experienced it himself, Lee gives us a story so impactful and true to human nature that is impossible to leave one apathetic.

The material is tough but the lead performances are superb, with both Alec Secareanu (Gheorghe) and Josh O’Connor (Johnny) enjoying a captivating chemistry and being exceptional in delivering the emotional depth of their characters. Ian Hart (Martin) and Gemma Jones (Deidre) are brilliant and crudely affective as Johnny’s disabled father and firm grandmother.

goc.2

Our first image of Johnny is that of a lonely alcoholic, trapped in a torture of a life. He is not enjoying the company of friends, lovers, or his family and his work is in fact, forced labour. He has no control over his demise and that leads his family to treat him with contempt, pushing him even further to the road of alienation and anger. Johnny’s idea of human contact is so distorted that he is not able to tolerate being touched or kissed, resembling that of a scared animal that first attacks and then runs off.

Gheorghe on the other hand, is calm, grounded, confident and tender. Being an immigrant, he employs sensibility and discipline which comes in complete contrast to Johnny’s carelessness and indulgence. It is remarkable how piercing and emotive is Secareanu’s expression opposite to O’Connor’s tormented look. Johnny’s cry for help is answered in the most compassionate and loving way, granting him acceptance and leading him to a precious connection with a fellow man. The cathartic scenes that follow his surrender to Gheorghe’s affection are disarmingly affective. As Johnny opens up little by little, we witness his life’s shape changing as well.

goc.4

Apart from the great scenes between the two leads, there is another I truly loved between Johnny and his father. The particular scene brought East of Eden (1955) in mind, where Cal (James Dean) and his father (Raymond Massey) have a similar purifying exchange marked by those two little words, “Thank you” that seem able to wipe clean years of harshness and bitterness in seconds.

Experiencing the film, it felt as a sensational piece of reality, a precious lesson on the transformational power of love and on the strength necessary to seek a better life by being truer to oneself. In God’s Own Country the silence and loneliness of the Yorkshire countryside is beautifully captured and the relentless and yet, rewarding labour of its people is explicitly presented with honesty and realism. The romantic story that is born and evolves in those landscapes has an impressive intensity and passion that fits the absoluteness of its surroundings.

goc.5

After the film you might feel like praising the power of love, experience compassion for the lonely, avoid eating lamb or any livestock for a while, take a trip to the countryside, contemplate about how your surroundings reflect upon your mood and behaviour and finally, you might judge whether you’d be brave enough to oppose to your family’s expectations regarding your work, love life, etc. by following your own path.

Love’s GLOrious epilogue – Film Stars Don’t Die in Liverpool (2017), dir: Paul McGuigan

glo,poster

The film is a personal portrait of a love story, no matter how unusual and morbid it becomes. The early memories of their affair interwind with the last days of Gloria’s life and in fact, are only two years apart, which makes it feel even more an unfair and tragic a conclusion. Flashbacks and the present are smoothly alternated in a way that will make you think about parallel universes and the relativity of knowledge and time. The reality is that because we are set to see Gloria’s end since the very beginning, this tragic disposition sets a tone of inescapable misery and grief that affects the lightness and playfulness of their early days of carefree loving.

glo3

It is an affectionate yet sad story of an improbable romance. The 30-year age difference between Gloria and Peter challenges the credibility of this love affair but given the charisma of this woman and her brilliant acting career it makes sense why in the eyes of a young man, a struggling actor nonetheless she would be the most desirable woman.

And to be fair, she truly is. Annette Bening (Gloria Grahame) is so powerful, charming and piercing that you won’t be getting enough of her. Glo’s voice is hypnotising and smooth like a fingertips caress, her body moves with grace and her eyes sparkle with childish vitality and excitement. Annette Bening’s presence is so strong and mesmerising that fills the screen and your heart with admiration, anticipation, sorrow and tenderness.

glo2

Jamie Bell is excellent as Peter Turner, his energy is infectious and his affection transparent as it feels incredibly original. It is an amazing gift he has to always appear authentic and emotionally charged with his physicality playing a great part in that.

I loved the dancing scene they share when they first meet because it a splendid prologue of their later affair and a glimpse of who they truly are. They are not synchronised but they are a pair, he is energetic and passionate, she is delicate and craves for attention and desire. The restless movement of the camera transmits the sexual tension, the eagerness for closeness and the curiosity for each other. The Romeo & Juliet scene towards the end was also an unforgettable experience as performances were sensational and the gesture in itself is the most moving declaration of love.

If nothing else, the film gives room for great, impactful performances and a bittersweet feeling about love. In that sense, Film Stars is a film about giving someone what they need, offering affection, sharing amazing moments, standing by them when trouble appears and finally, coming face to face with an immeasurably painful loss.

glo

After the film you might re-watch some Gloria Grahame films, question whether age difference limits sexual attraction, think about what makes you fall in love; could admiration be an integral part of it? Also, you might start picturing yourself in 30 years from now and wonder whether love will have a central role in it and finally, you might be entertained by the thought that experiencing a great romance could occur in the most improbable time and place (like Liverpool…?)

Sexual repression unlocks magnificent powers – Thelma (2017), dir: Joachim Trier

tposter

Thelma opens with a mysterious, ice-cold act that introduces us to the character by posing a grave question. What is wrong with Thelma? What terrible things is she capable of that pushes her own father to the edge?

Thelma is a slow-burn existential thriller and a beautifully-shot supernatural Nordic tale that is uniquely scary, sexy and empowering. There is a dreamy, alluring and magical ambience that Trier orchestrates, especially through the exquisite slow movements of the camera, the indulging portraits and the sensuality of Thelma’s fantasies and dreams. The film presents an amalgam of drama, romance, coming-of-age adventure, thriller and mystery.

t3

There is a precious serenity and smoothness in the sequence of shots that are dressed with a cryptic, intense and rough soundtrack. It is impressive how a language contributes to the telling of a story, is almost a character in itself and fits perfectly the surroundings and idiosyncrasies of the protagonists. The Norwegian language, rich in musically intonated consonants, of the likes of F, S, L and R (at least to the ears of someone who doesn’t speak any of the Germanic languages) is sweet and hard at the same time, just like our heroine. Her face is perfect, like that of a porcelain doll but is also tormented and desperately emotional. Eili Harboe is excellent at conveying fear, confusion, lust and joy and so delivers a captivating and piercing performance.

Thelma is young, inexperienced and shy when she leaves home to study in the capital. Like a scared animal she slowly and carefully makes her first steps out in the world, which she has been taught is full of dangers and corruptive temptations. She takes little bites at a time and seems to surrender control and gradually lose herself, or to better put this, reinvent herself.

t2

Thelma is a victim of controlling parenting and that is a much relatable element of her story. She struggles to make her own decisions, to establish her limits and personal space and be the master of her mind and heart. Her catholic upbringing dictates her to feel shame for experiencing sexual attraction for her friend Anja (Kaya Wilkins). The pair has a beguiling chemistry that enrich their masterfully-directed scenes together.

This unprecedented passion for her friend sets off a vicious cycle of repression for Thelma and pills off her conditioned reservations by allowing her true self hesitantly immerge. Guilt and fear around homosexuality begins as her main trigger but later on, it is just the tip of the ice berg as she is called to trace the origins of her inexplicable powers and shed light on her complicated relationship with her parents. It is only through crisis and struggle that Thelma gets in contact with her original identity and instinctive desires that unlock her long-banished potential.

t6

Joachim Trier and Eskil Vogt stage Thelma’s suffering, confusion and self-discovery with a brilliant script and Trier’s visual style is masterful and aesthetically compelling. Remarkable scenes unfold throughout the film such as the still of the broken glass of milk stained with blood, the frightening swim in the deep, blue pool, the reptilian erotic hallucination, the intense opera incident and towards the end, the flaming punishment in the lake.

The director collusively winks at the audience with the closing scene that addresses universal agonies, such as the ambiguity of liberty of choice, the exertion of one’s power over others and the strength needed to accept one’s true nature. We have witnessed Thelma go through fire and water to liberate herself from the ghosts of her past and the shadows of her present, so we naturally find ourselves on her side in her decision to embrace her powers. With the ending credits came a huge smile on my face because I have immersed into the story of a kind and loving survivor who has taken life by the horns and has found her place in the world, just the way she is. With the last seconds of the film came pouring ethical questions around Thelma’s choice but by that point I loved her too much to care.

t5

After the film you might crave a (forbidden) apple, bring yourself to recall the times you felt you had supernatural powers (might as well be when you were five…), think how you’d use your powers, would you be selfish or share them with the world? Also, you might think about your life choices up till now, be honest with yourself and count the ones that you made entirely on your own but then, you might think…are we ever free to choose when we are forever shaped from our environment?! Finally, you might have some weird dreams involving burning boats, birds, reptiles, thunders and beautiful but dangerous creatures lurking in the shadows.

An unbearably wise and peachy beautiful dream – Call me by your name (2017), dir: Luca Guadagnino

cposter

Feel intensely… like you’ve been thrown in the most freezing river, like the first time you heard your all-time favourite song, the first time you saw the one who monopolised your mind to the expense of your whole being, like the sunniest, most relaxing and cosiest summer afternoon. Funnily the most emotionally poignant moments in life are identified as our first contact with something or someone exceptional. This magical coming-of-age cinematic love story consists of firsts both for its protagonists and its audience.

Guadagnino’s new film tenderly touches upon our senses as a stroll down memory lane given that the story of a teenager’s sexual awakening is incredibly identifiable. As the title betrays, transference and immersion into someone else’s experience is what the masterful director and brilliant actors achieve here for us, and it is an absolute joy and a painful test at the same time.

Call Me by Your Name - Still 1The rhythm is lively, playful but also, slow and sentimental with Guadagnino shooting from different angles, adjusting height and speed around the rooms and the stunning Italian province. The sensuality found in nature matches perfectly and harmoniously the insides of the culturally-rich villa, and the characters’ personalities.

Guadagnino’s canvas is the exquisite nature of his home country that he somehow manages to emerge us into to the fullest extent; biking in rough country roads, biting a ripe peach, driving your fingers into the warm grass, swimming in a cold lake, touching another’s skin in the zenith of passion and greedy appetite.

c11

Timothée Chalamet is fresh, passionate and brave in his performance as the 17-year old Elio. In a part that strips the actor of all his defences and proves that this level of emotional vulnerability allows for the greatest performances. And Chalamet is certainly remarkable and leaves no doubt of his ample talent and zeal.

Armie Hammer oozes sensitivity and painful pride as Oliver, a post-grad student interning under Elio’s father and staying with the family for 6 long weeks. He is magnetising and dizzily attractive by being an amalgam of bipolar energy, the smoothness of his voice switched to arrogant, laconic expressions, and his elegant posture alternated with rapid and decisive movements.

c9

The chemistry of the two is so welcome and evident, particularly in the scenes where a flood of emotions and delayed gratified yearning is victoriously reciprocated. The sensual physicality of these scenes is a hymn to love and magic of human connection.

The film is painted with the warmest colours and the tone starts relaxed, shy and explorative. Elio’s curiosity and romantic anticipation slowly emerge and keep us tense and hopeful. The sexual tension and ambiguity equal to an emotional thriller. And when the feelings are reciprocated, we see a passionate love story evolve in the dramatic proportions that every doomed romance deserves. History teaches that it is the most devastating sentiment and yet the most powerful and enduring that of the forbidden love.

c1

I felt Call Me By Your Name can be divided into three parts, the first being the exploration and realisation of burning sexual desire for the first crush, the second being the gratification of reciprocated acceptance and of emotional and physical connection, and the last being the torment of separation and learning how to embrace pain.

Michael Stuhlbarg, as Elio’s father, delivers one of the most heart-breaking and wise monologues in recent cinematic history, in my humble opinion. His devastatingly piercing words hold great meaning not only to his son but to all of us. It is a difficult and momentous revelation that accompanies a tender and loving advice, delivered in such an authentic and forthright way that will grab your soul and never let it go.

c2

Being homosexual in the 80’s Elio would have to make a choice, live life to the fullest or lock his true desires away for the sake of a normal life, which is arguably the most difficult situation one could be and thus, cannot be compared to the tests of love everyday folk are put under. However, it touched me so deeply and acutely because it is a lesson for us all; it invites us to be brave by embracing pain, anger and disappointment so that we are able to welcome love again.

To sum up, words don’t do the film justice so please head to the cinema to experience it yourselves and to get lost into the dreamy world of lovers that only Guadagnino knows how to construct. The aforementioned honest monologue of the father, the phone call that seals the faith of the first love, the bitter and unfair deprivation of it and the lack of control in this and finally, the last, extended shot of Elio’s face is a tremendous epilogue to a beautiful romance of eruptive emotions that teaches a young boy how to love.

c10

After the film you might have temporarily blurred vision due to the river of tears you’ll cry, and when there is none left, you might dance to the rhythm of the film’s amazing 80’s soundtrack, recall your first great love and the level of devastation you had to overcome because of it, eat a peach or two, book your next holidays for Italy, imitate Oliver’s deliciously arrogant “Later” and strive for everyday magic and passion as life is indeed too short for regrets.

Get wheeled into an intoxicating rhythm; Baby Driver (2017), dir: Edgar Wright

Can you remember the last time you watched a film, got out of the theatre and turned back inside straight away?

That’s what happened to me after Baby Driver; minutes after leaving, I made a 180 degrees turn because I just HAD to experience the whole thing again.  I wanted to imprint every scene in conjunction with its soundtrack in my memory, grasp every detail in the performances, and essentially enjoy myself on repeat. Baby Driver is a fascinating and magically entertaining motion picture that captivates the audience with its caricature characters and stylised micro-settings. Music is employed as a narrative mechanism that is equally a recipe for infectious joy and excitement.

BB_1ST scene.jpg

The first scene is an excellent example of Wright’s incredible directing style: Baby is lip-singing Bellbottoms (performed by The Jon Spencer Blues Explosion) while waiting for the gang to wrap up the robbery, get into his red Subaru so that an impressive and thrilling car-chase can start. This particular set-piece is masterfully choreographed and quickly gives away that Baby Driver in a few decades time will be surely enlisted in the classics.

Scenes are not merely dressed with the appropriate songs but they are purposefully designed to match their rhythm and intensity. Wright’s brilliant concept makes his film particularly powerful for everyone; just count the times you’ve attached everyday moments to particular songs and swayed to their melody by improvising scenes that resembled music videos, or the times you replayed memories while enriching them with song that could turn them into perfectly synchronised musical settings.

vs.jpg

Baby Driver is an amalgam of crime, violence, romance, action, thriller, drama, dark comedy, and musical and therefore, it constitutes a genre in itself. The music score is in complete harmony with every movement and sound in the scenes, in a way that music and narrative are inextricably linked.  Instead of being disorienting, Baby Driver’s musical flow bizarrely adds to its structure and storytelling goals. And it is precisely thanks to its fluidity and multi-sensory richness that it makes you crave re-watching the scenes in order to catch things you might have missed the first time.

lily2.jpg

Baby Driver is a stylish hybrid dipped into American aesthetics; it reflects modern pop-culture through the lens of cult classics hence, notably resembling Tarantino in the ‘90’s (minus the explicit, blood- infested violence) but at the same time, it feels old-fashioned in its details, by presumably drawing inspiration from the classic Hollywood era (as indicated by the B& W day-dreaming scenes with Baby and Debora).

One of the film’s greatest strengths is the assembly of amazing and memorable supporting characters. They’re all conceived in a way that they fall into stereotypes, yet they gloriously leave their distinctive cinematic print thanks to Wright’s witty dialogues and the cast’s remarkable performances.

BB_Darling&Buddy.jpg

Buddy and Darling represent a more evolved and sexy version of Bonny & Clyde, in that they are partners in life and in crime. Eiza González presents Darling, a seductive and vengeful thief who is also, a jewel and bubble-gum enthusiast and thankfully, doesn’t disappear under a clichéd and decorative depiction of the femme-fatale in crime films. Jon Hamm portrays her other half, Buddy who is a relatively warm, easy-going guy with a distinctive deep voice and sarcastic grim. The plot’s turn in act three gives Hamm the opportunity to branch off the attractive, macho man persona and dive into raging insanity.

kavijn.jpg

Griff’s (Jon Bernthal) frustration towards Baby’s attitude spurs a comical monologue that balances a humorous teasing against a bleak warning. Jamie Foxx as Bats is intense and funny but transmitting a very unsettling and dangerous vibe though his maniacal and dry gaze. Kevin Spacey stays faithful to a cold, distant and almost robotic portrayal of Doc, only for his unintentional paternal instincts to be revealed towards the film’s epilogue, triggered by his emotional vulnerability towards true love.

vsss.jpg

Lily James gives us a Debora that can be easily adored thanks to her evident beauty and graceful personality that is conveniently subtle and discreet enough only to support and trigger Ansel Elgort’s lead performance as Baby (with whom she also has great chemistry). Elgort feels natural and spontaneous on-screen and ticks all the right boxes as he convincingly appears tender (especially when caring for his foster dad), romantic and innocent but also, fearless and brave.

gs.jpg

After the film you might want to watch it again (yeah, it’s that good!), wear your sunglasses all day & night, talk less, make your own playlists that match with specific memories or people, you might seriously consider it’s high time you fell in love (again?), exceed speed limit (and potentially get a speeding fine too), contemplate what kind of illegal activity would suit you best and finally, come up with a cool nickname for your criminal alter-ego.