It’s Christmas and the charming city of York, home to Jules, 16, and her dad, David, is decked out ready for the festive season. In many ways, David and Jules’ relationship is no different from that of most fathers and their sixteen-year-old daughters. He struggles to understand her, she refuses to communicate with him. He wants to be involved in her life, she wants her own space. In one important respect, however, David and Jules share a profound bond: the death of Jules’ mum, and David’s wife, in a car crash two years before. With both struggling to cope with everyday life in the shadow of their loss, Jules, inspired by happy memories of her mum, decides to take matters into her own hands.
As an extremely avid fan of DC’s animation, I’ve become familiar with the way the studio uses Batman as a bit of a Trojan Horse to introduce some of their lesser known characters.
This inspiring true story falls nothing short of filling the audience with a passion to strive for their wildest dreams.
Given that Charlie Cox is having a moment with the rise in interest in 'Daredevil,' let's return to one of his earlier movies: the fantasy romance 'Stardust' where he shines amidst a slew of characters, from a stereotypical witch to a crossdressing pirate.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.
The film is bogged down with one-off rain monster threats that always come to a quick and undramatic end
Animation as a medium of storytelling can be thought to be open to all ages and as I hope my reading will reveal, 'Nimona' could be interpreted as a transgender story.
