In an effort to catch all of this years biggest contenders, we have ourselves another round of mini reviews. I might add that year on year these “mini” reviews are becoming less and less mini… perhaps because I have more to say. Of the films below, leading the field is Emilia Pérez with 13 nominations, followed by The Brutalist with 10 and Conclave with 8. Then there’s the essential animated film representation in the form of The Wild Robot and Inside Out 2. With that, we have a real eclectic mix of films to review, with two of them posthumously making their way into my top 10 films of the year list (on Letterboxd).
Conclave
A mystery thriller set in the Vatican during the selection of a new Pope? Consider me sold. Conclave follows the efforts of Cardinal Lawrence (Ralph Fiennes) in leading the ancient process of anointing a new Pope, when he finds himself in a web of lies, conspiracies and intrigue.
To put it simply, Conclave is stellar at every turn. The edge-of-seat tension that lines every moment from the opening scene through to the climax is so thick you could cut it with a knife. The building of suspense is expertly handled and it puts the film in a vacuum of time – at 45 minutes into the movie I was convinced it had only been about 20. It has you so engrossed in the mystery and questions of foul play, plus with the sequestered nature of the story, that all time goes out the window. It creeps along at a slow, steady pace, but not one that ever feels like it’s padding for time or lingering on a single beat. It moves with purpose and always has its eyes on the next big moment, with incredible dialogue to go along with it. There’s some exceptional monologues throughout that give the film the feeling of being a play at times, making for some of the best scenes. The narrative is also an unpredictable affair – at no point is it easy to discern character motivations, making it a constant guessing game that’s engrossing until the final shot.
This is also a gorgeous film when it comes to the cinematography. There’s no grand, sweeping shots and no vast otherworldly landscapes – it’s mostly all tight, interior shots but it’s undeniably stunning. There’s beauty in its simplicity and the way the sets are captured that make it a marvel to look at. The Best Score category at the Oscars will be a fierce competition, with Conclave staking its claim with its stringy, anxiety-inducing score.
This film is stacked with nuanced performances that collectively enhance every moment of the film. Ralph Fiennes is undeniably phenomenal – his deft, subtle, soft-spoken performance carries the film and is the lens through which the viewer perceives every event. His monologues will leave you transfixed and there’s multiple scenes where his expressions alone do all the talking. Isabella Rossellini’s presence as Sister Agnes is an interesting one. I believe she’s criminally underused in the narrative, with only a handful of identifiable speaking scenes, but her presence and impact on the narrative is felt throughout.
In the end, Conclave is nothing short of one of the frontrunners to take home Best Picture at the Oscars, and for good reason. It’s incredibly well crafted from the narrative to the performances, all the way down to the ear-piercing score. If you’re after a though-provoking drama that’s laced with mystery, thrills and the occasional head-turning twist, this is the film for you. And it’s one of the best of the year, so it’s a no-brainer.
9.4/10
The Wild Robot
Introducing one of the best and most delightful animated films in recent years; The Wild Robot. All about love, family, community, belonging and growth, The Wild Robot is a touching tale following an intelligent robot called Roz (Lupita Nyong’o) and her efforts to survive a harsh environment while bonding with an orphaned duckling.
There’s many animated films out there primarily geared towards kids that incorporate minor beats that adults can also get a kick out of. However, never has there been an animated film that does the opposite so damn well. This is one of the more mature animated films out there, not in terms of violence or graphic content, but in terms of the emotional maturity of its core themes. The messages it conveys are thrust into the forefront of its narrative, so much so that it’s a more impactful watch for adults than it is for kids. The little ones will have a blast with the silly comedic hijinks, but the depth of the story is something adults, specifically parents, will respond to. It’s a certified tear-jerker, with both its sad and wholesome beats hitting me throughout the narrative. The character growth is wonderful, and it’s not just limited to Roz. From Brightbill (Kit Connor) to Fink (Pedro Pascal) and beyond, everyone’s arcs are heartwarming and fulfilling.
When it comes to narratives in animated films, many of them play it safe and avoid taking unexpected risks. What makes this story stand out so much is that it doesn’t pull its punches, going in directions that dip and dodge predictability in favour of beats that are emotionally surprising. Yet it’s still blissfully easy to follow for young audiences. It’s not all deep themes and emotionally-heavy moments, it features stacks of fun, hilarious moments that appeal to a wide audience. From the wonderful presence of Matt Berry to the classic ‘fish out of water’ concept, there’s laughs aplenty spread through this fast-moving story.
Additionally, this film makes me wonder whether we could see another animated film win the Oscar for best score. The music in here is incredible and works in enhancing the emotional impact of so many key scenes. It’s poignant and beautiful and helps keep the tears flowing.
In the end, The Wild Robot is the most beautiful, heartwarming and emotionally impactful film of the year. It contains a well-written, thought-provoking story that appeals to adults on a deep, emotional level. It’s also filled with plenty of fun antics and hilarious comedic beats that are sure to keep kids entertained. All-round it’s one of the best animated films of the last decade, complete with vibrant animation and strong voice performances that bring each character to life.
9.1/10
Inside Out 2
The first Inside Out became an immediate hit for Disney and Pixar, taking a unique concept and spinning it into an animated feature that was fun for all ages. Now, Inside Out 2 aims to continue that form, following Riley as enters puberty and is subject to a variety of all new emotions.
The two things I loved most about this film are the ingenuity of the writing and the beautiful messages it sends to kids of Riley’s age. First off, the writers haven’t missed the mark when it comes to representing what it’s like to go through puberty and feel these new emotions. From anxiety and envy to embarrassment and ennui, the inventive use of these emotions is a blast to watch unfold, and they’re applied to situations we’ve all experienced at least once in our lives. The film really captures what it’s like to be a teenager, and that authenticity makes it easy for the audience to put themselves in Riley’s shoes and have a deeper connection with the story. Then there’s the beautiful themes and messages this film harbours for its young audience. It really touches on themes of belonging and accepting who you are, ensuring you evaluate the important things in life and understand it’s okay to not always be okay. Some of these are more mature young adult ideas, but they’re implemented in a way that’s wholesome, accessible and understandable for a younger age group. The balance of pure kid-friendly fun and emotion-heavy messages is something the film nails.
Being a Pixar film, there should be no doubt in anyone’s mind that it’s stunning. The visuals are a vibrant delight, and every shot is built in a way that you just can’t help but admire the hours and hours of time that went into it. Part of me was so focused on seeing what Riley’s character development would be that I didn’t stop to think about the emotions. They, especially Joy, experience some deep introspective development the fleshes them out as more than just their specified emotion. It’s a lovely addition to the narrative that only enhances the emotional complexity of the film, in a good way. Amy Poehler shines once again as Joy, and Maya Hawke has her finger on the pulse of anxiety, both leading a lineup of solid voice performance.
In the end, Inside Out 2 is an improvement on its predecessor that offers a fun ride for all generations thanks to its relatable subject matter. My one gripe is that the story, while clever with its exploration of puberty, doesn’t take many big swings. Its attempt to implement a villain feels rushed, and in fact the whole story could have been padded out a little to give some key moments room to breathe. Granted, it’s a film primarily for kids, so that 90 minute runtime is going to delight the short attention span of today’s youth.
7.8/10
The Brutalist
The Brutalist is one of those films that was clearly geared for Oscar nominations from day one of production. Its a compelling character study that sheds light on the immigrant’s experience in post-war America. It follows a visionary architect who moves to America and has his life changed by a wealthy client.
One of the biggest things The Brutalist has going for it is how it presents itself as a biopic about a real architect, but of course it’s entirely fictional. It adds a feeling of authenticity to the narrative, much like Tár back in 2022, and keeps it firmly ground in reality. The story itself is a tale of two halves. The first half is a wonderful, engaging affair about watching László Tóth (Adrien Brody) navigate a volatile world where he’s both highly regarded as an architect and pushed around as an immigrant. It’s a compelling duality the brings about a great deal of emotional weight. We learn a lot about Tóth through visual storytelling, watching how he prioritises his friends and treats his peers, and it makes for a great protagonist. The latter half does start to run long, with certain scenes dragging and slowing sown the story with little payoff, however it remains interesting enough until the climax.
The film falls apart beginning from the quarry sequence. The sequence itself is like a fever dream and very strange compared to the rest of the film. It also marks a turning point where everything afterwards feels like a haphazard collection of scenes that jump through time and don’t give you a moment to appreciate or really digest the weight of what’s happening. Then you get to the epilogue, which is so disconnected to the rest of the film that I don’t understand why it’s included or what the writer is trying to say. It’s a real shame, because it was stellar but continuously lost its way.
Being a film about architecture, it only makes sense that it would be as aesthetically beautiful as it is. The composition is stunning from the smallest to the grandest of shots. Additionally, the fact that this was made with a ten million dollar budget and has the incredible sets that it has is an achievement. Another achievement is in the performances – Adrien Brody is stellar and he very much deserves the Oscar should he win. But for me Guy Pearce (Harrison Lee Van Buren) makes the most impact, only getting better as the film progresses and the multifaceted personality of his character comes to light.
In the end, The Brutalist is at times exceptional and at times lacklustre. The first half had me thinking it would be one of my favourites of the year, while the second half was uninspired and a bit of a mess. And since the movie is over three hours long, that’s a large chunk of mediocre. I will say, I love that this film comes with an intermission programmed into the runtime at exactly the halfway mark. I say when you have a 3+ hour film and you can put an intermission without ruining the pacing or excitement… absolutely do it.
7.5/10
Emilia Pérez
Where to begin with Emilia Pérez. While it has garnered huge critical acclaim with 13 Oscar nominations, some audiences are calling it the worst Best Picture nominee. While I believe it sits in the middle, I can see both sides. The film follows the intersecting lives of three women in Mexico wanting to secure their own happiness.
Let’s start with the good, or shall I say the fantastic. Within the guise of it being a musical, there lies a brilliantly-written, riveting story centred around Emilia Pérez (Karla Sofía Gascón) and Rita (Zoe Saldaña). There’s little twists and turns spread from start to finish that constantly shift the story focus and character dynamics. For a movie that’s a little over 2 hours, the focus of the narrative changes a considerable number of times, all while still feeling relevant to Emilia’s overall journey. It’s an impressive feat to move through so many character arcs, and keep characters moving in and out, while managing to keep it all hinging around one core arc. It’s a very thoughtful and poignant story with a remarkable level of potential… potential that’s hindered and wasted thanks to the perplexing choice to turn it into a musical.
The biggest question I have in regards to the musical sequences is just; why? Not a single one of the songs adds anything of value to the story, in fact they typically detract from what would otherwise be an engaging scene. There’s moments between characters that are set up to be quite deep and intriguing, but they’re overshadowed by a shocking, unimpressive musical number. Also I referred to them as “songs”, but that’s only true half the time. Half of the ‘musical numbers’ are just casual dialogue set to the backdrop of a beat – it’s just talking with a specific tempo. It’s awkward, jarring and detrimental to the film. Then the other half that you can actually call songs aren’t catchy or memorable in the slightest, so what’s the point? There’s a wonderful film in here that could have easily been one of the best of the year, but the choice to make it a musical is such an unnecessary blight.
Despite that, you can’t deny Zoe Saldaña’s or Karla Sofía Gascón’s performances as being anything other than powerful. Saldaña is in the box seat for her first Academy Award, while Gascón’s category is too competitive for her to have a chance, but that shouldn’t discredit the work she puts in here.
In the end, there’s a version of Emilia Pérez out there with no music that would be incredible, but unfortunately that’s not this. The music is too jarring and unconventional to be enjoyable, and it’s the main reason for the critical panning it has received from the general public. The narrative is strong enough to make this somewhat enjoyable, it’s just hard to push it above decent due to the musical focus holding it back. I also came to the realisation half was through that this is just a slightly twisted, darker version of Mrs. Doubtfire with a musical touch… so do with that info what you will.
5.8/10
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