PREVIEW: Titane

Titane, the most recent recipient of the Palme d’Or, has been declared by the BBC to be “the most shocking film of 2021.” The film follows an unconventional love story and a series of unsolved crimes, and falls under the horror genre – but specifically body horror. Titane is a French film by director Julia Ducournau (director of Raw), with the title’s English translation being “titanium.”

I’ve heard this film described as “kind of gross” which makes me a little nervous, but I am curious about how tasteful the film’s gratuitous nature is. The film’s description on several websites is accompanied by a blurb about how titanium is biocompatible and therefore often used in prosthetics, and I think I know what kind of body horror that would involve. I am simply not a fan of doctor montages and surgery scenes in films, but there is something about watching such a shocking and possibly controversial film that is a little exciting to me. Wish me luck!

Titane opens on Friday at the State Theater. 

REVIEW: Shang-Chi and the Legend of the Ten Rings

Marvel Studios started off strong at the beginning of 2021 with WandaVision, but quickly lost steam with Falcon and the Winter Soldier, Loki, and Black Widow. However, it seems that Marvel is picking up the pace again.

Out of the newer MCU solo origin stories, I would rank Shang-Chi above most. I would consider Shang-Chi above Doctor Strange; both films closely follow Marvel’s cookie-cutter formula, however Doctor Strange feels more like a copy-and-paste of Iron Man (rich genius is humbled through injury and learns to keep moving and channel their pain into a newfound ability). Doctor Strange does have the upper hand on visual effects, but Shang-Chi does not always feel like an MCU movie – it’s refreshing.

Perhaps the strongest element of Shang-Chi is its action sequences. The use of well-choreographed martial arts makes the film a thrilling watch, even with the knowledge that all MCU films end with a massive CGI battle scene. I prefer these close combat fight scenes because I find myself zoning out when watching hordes of CGI aliens run across the screen. I am all for the suspension of disbelief, especially in Marvel films, but I still feel a massive disconnect the more fantastical things get. Shang-Chi does fight masses of nameless villains, but he confronts smaller groups of antagonists, making the combat feel tighter and making the audience feel closer to the action. Furthermore, location adds a new dimension to the film’s action, specifically to an early fight sequence on a moving bus, which is synced so perfectly with the score. You realize that Shang-Chi is just some guy who happens to be really good at martial arts, and you are inclined to root for him. 

The side characters are also worth noting. Awkwafina plays an Awkwafina character, contrasted with Shang-Chi’s sister, Xu Xialing, who is arguably the same character as Evangeline Lilly’s Hope van Dyne in Ant-Man (the underestimated daughter who was never allowed to fight when she was young and has become hardened because her family who was never there for her). Nevertheless, it is clear that both Shang-Chi and Xialing have a lot of potential for future MCU projects, though it is slightly disappointing that they were not fully developed in their own film. However, the standouts are the parents, played by Tony Leung and Fala Chen. Tony Leung’s character, Wenwu, is a re-writing of his racist comic book counterpart as a character who is driven by human and more relatable motives, and is not the embodiment of yellow peril. And Ying Li is not simply a mother – she stands her ground and makes decisions for herself. She possesses a kind of grace that makes her presence known throughout the entire film.

Ultimately, Marvel knows how to make movies that will perform well at the box office. Perhaps it would have been too revolutionary for the MCU’s first East-Asian-led film to omit the CGI-Fest at the end in favor of diving deeper into its central character dynamic, but I am happy that Marvel believed in this film’s success.

PREVIEW: Shang-Chi and the Legend of the Ten Rings

The newest installment of the MCU, Shang-Chi and the Legend of the Ten Rings stars Simu Liu, Tony Leung, and Awkwafina. The film follows Shang-Chi (Liu) who is forced to reckon with his past with the introduction of the mysterious Ten Rings organization into his life. Shang-Chi premiered last weekend and shattered Labor Day weekend records, collecting $94.4 million. 

Disney CEO Bob Chapek had previously called the film’s release strategy an experiment, as it would be exclusively in theaters for a 45 day window rather than a joint release on Disney+ – which had been the case for Black Widow – the source for another theatrical release/streaming service controversy. Chapek called Shang-Chi’s release an experiment, which caused Liu to take to Twitter and declare “we are not an experiment,” rallying fans to make history on the film’s release date. Evidently the film has performed well – president of Marvel Studios clarified that Chapek’s statement was a misunderstanding – which is exciting that the MCU’s first Asian-led and Asian-directed film is receiving so much support. This potentially bodes well for Marvel’s next release, Eternals, directed by Oscar winner Chloé Zhao, who is also an Asian filmmaker. 

The film has received generally positive reviews, with praise for the performances from Liu and Leung as well as the film’s soundtrack, though the visual effects have received mixed reviews. I am keeping my hopes reasonably high that the film is not extremely MCU-formulaic, as over 20 of similar projects in the MCU have lowered my expectations. Nevertheless, I am always excited to be in an audience at a movie theater, especially to watch a big blockbuster film. 

Shang-Chi and the Legend of the Ten Rings is now playing at the State Theater. 

 

REVIEW: Shiva Baby

A college student, her sugar daddy, her sugar daddy’s wife, their screaming baby, and her ex-girlfriend walk into a shiva. This is Shiva Baby, Emma Seligman’s directorial debut. The film’s anxiety-inducing nature has led some critics to liken it to Uncut Gems, but the two films are completely different. Uncut Gems is sensory overload from an extreme scenario with players that are shady and purposefully unlikable, whereas Shiva Baby’s stress stems from how imperfect and therefore relatable its characters are. There is something very familiar about parents trying to be helpful but only succeeding at embarrassing you, extremely judgmental family friends, being forced to talk to the last person you want to talk to, and having to stay friendly and polite the entire time. It’s not difficult to understand the kind of stress Seligman’s protagonist, Danielle, is under.

Shiva Baby’s runtime clocks in at a mere 1 hour and 17 minutes, and this could be a disadvantage for Seligman. However, instead of her characters being underdeveloped and the plot rushed, Seligman simply elects not to waste any time. This is where the relatable aspect of the film comes into play again; everything that occurs is believable and realistic, so Seligman does not have to dedicate very much of her film to extensive exposition. The setting of the film also contributes to this aspect; all scenes but the first take place in one location, therefore containing the film and grounding it in its specific reality. All possible events are limited to interactions between the characters attending the shiva. Here, Seligman avoids the trap of her film becoming repetitive. Rather than beating a running joke to death, she inserts backhanded comments from shiva attendees about Danielle’s appearance right after an interaction has gone poorly, turning what’s already pretty bad into something a little worse. And by simply having Danielle plan to leave the shiva with her parents, Seligman has trapped Danielle at the event where she will only become more and more overwhelmed.

Finally, there’s the character of Danielle herself. She’s just a regular college student who’s about to graduate, and she’s quite terrified for the future. Her parents and family friends don’t particularly understand how she designed her own major and what she’s planning on doing with it, and it doesn’t help that her ex is going to law school and that her sugar daddy’s wife owns three businesses. The one thing Danielle really has any control over is her sugaring, and when she realizes she’s competing with the wife, it’s only natural she is jealous and snarky towards her. And yet, despite Danielle’s messiness, you can sympathize with her and also just hope she can leave the shiva so you can breathe again.

Overall, Shiva Baby is well-written, well-acted, and funny. And due to its claustrophobic and experiential fashion, you can’t wait for it to be over, but only because you’ve become so invested in it.

Shiva Baby is available to rent on Amazon Prime Video.

PREVIEW: Shiva Baby

Shiva Baby is director Emma Seligman’s directorial debut starring Rachel Sennott, Molly Gordon, and Dianna Agron. The comedy film follows a young Jewish woman who attends a shiva with her parents, her ex-girlfriend, and her sugar daddy. The film has been praised for its Jewish and bisexual representation, and for its ability to be accessible to all audiences at the same time.

One of the most enticing testimonials I’ve heard is that the film is incredibly stressful to watch, and that it features a unique horror-like score that heightens this experience. I know I am going to be overwhelmed, but I am still looking forward to seeing how the film will navigate an anxiety-inducing comedic tone in a very modern setting. Shiva Baby originated as a short film that was part of Seligman’s thesis project, and I am interested in how it will translate into a full-length film.

Shiva Baby is available to rent on Amazon Prime Video.

REVIEW: Raya and the Last Dragon

Raya and the Last Dragon is Disney’s newest film, and it has a lot of firsts for Disney: it is their first film to be inspired by Southeast Asian culture, it has a unique score, and it even looks and feels like a video game at times. But, despite these firsts, the film is quintessentially Disney. It features goofy side characters and has some corny dialogue, and its overall message makes it a Disney film at heart. The titular heroine, Raya, seeks the last dragon, who she hopes will vanquish the menacing Druun monsters that have been ravaging her home. Raya belongs to one of five tribes that had previously been united under the land of Kumandra, but were divided by the arrival of the Druun. Raya’s adventures take her through Kumandra, where she witnesses the widespread effects of the very monsters that have been devastating her own home.

The overall message of the film can probably be ascertained by this premise alone; audiences have a pretty good idea of what lesson the characters will learn early on in the film. As the runtime is just under two hours, the story and Raya’s development feel very simple. Perhaps the film could have focused exclusively on Raya and her foil introducing a kind of complexity and grey area Disney does not explore as often. That being said, the film is not overly predictable, nor does lack redeemable qualities.

Most of the film’s strengths are technical. The film features a beautiful soundtrack, with whimsical themes for the fantastical moments, and also lively themes to accompany the thrilling action sequences. It’s amazing to see how much Disney’s animation has evolved over the years as this film showcases some of Disney’s most exciting fight scenes to date. There is a battle near the end of the film that is flawless – Raya’s rage comes across so strongly just from the lead-up, locking audiences in for the actual fight.

Whenever Disney is praised for their diversity, it can always be called into question. The film’s creators took great care to travel to Southeast Asia as well as hire cultural consultants, however the majority of the principal voice cast is East Asian. East Asian roles in film are already minimal, but there are even fewer opportunities for Southeast Asian actors. Though the film celebrates Southeast Asian culture, the casting can come across as a misstep. The film is streaming on Disney+, which is not currently available in Southeast Asia. However, the voice of Raya, Kelly Marie Tran, is the first actress of Southeast Asian descent to voice a lead role in an animated Disney movie. Tran was harassed online by Star Wars fans following her breakthrough role in The Last Jedi, only to be written to the side in the trilogy’s conclusion. Despite this, Tran has persevered, and her determination makes her the perfect fit for the role of Raya.

Raya and the Last Dragon is imperfect, but it is a worthy film that teaches trust and forgiveness to kids in the most Disney way possible.