Anatomy of a Fall
Justine Triet
2023, 152 mins.
You be the judge
Here’s a whodunit that usurps the role of the court and places the determination of guilt or innocence directly in the hands of viewers.
Largely set in a remote, triangular multi-storey chalet near Grenoble (and of course, later, a courtroom), bisexual writer Sandra Voyter (an extraordinarily nuanced performance from Sandra Hüller) has her interview by a comely student (Camille Rutherford) abruptly adjourned as the looped music from above becomes so loud as to make any further conversation impossible. The source of the bombastic steel drum charts is the author’s somewhat estranged husband Samuel Maleski (Samuel Theis). While all of this going on, the couple’s young, visually impaired son, Daniel (a remarkably sensitive interpretation from Milo Machado Graner), bathes his ever-faithful dog Snoop (such a name—well, it’s a mystery…) before taking a stroll through the woods and playing “find the stick and bring it back”.
Upon return home, Daniel is horrified to find his father dead in the snow—one way or another falling from his third-floor window.
Then, before you can say “heated arguments fuelled by infidelity”, Sandra is indicted for murder. At her side is friend/attorney and epitome of informed calm, Vincent Renzi (Swann Arlaud).
With no aha! evidence, securing a guilty verdict moves from “Who else could have done this?” (suicide seems highly unlikely given the head wound prior to the fall), the murky waters are somewhat cleared when Daniel insists on testifying.
Triet (along with co-writer Arthur Harari) has fashioned a low-key narrative that asks more questions than it answers, but the final resolution may well hinge on the old adage “Justice is blind”. JWR
Mission: Impossible – Dead Reckoning Part One
Christopher McQuarrie
2023, 163 mins.
Piecing it all together
Having grown up with the original Mission: Impossible as a teenager (and loving every episode), I have avoided every previous film so as not to sully my memory of the fast-paced, low budget, always engaging plots until now.
Let’s just say that Tom Cruise is no Peter Graves, lacking the sophistication and savvy delivery of the actor who became Jim Phelps in season 2. Similarly, Barbara Bain, Greg Morris, Martin Landau and Leonard Nimoy portrayed the largely characterless, highly efficient co-members of IMF (Impossible Mission Force). Lalo Shifrin’s theme remains one of television’s best. 5/4 rules!
In this, the first part of a series, the action revolves around AI (sigh) putting together a “key” (rather small talisman) that has the potential of changing the world—either for the better or worse depending on whose hands it eventually falls into.
With the eye almost always engaged (first-rate cinematography from Fraser Taggart, expertly edited by Eddie Hamilton) and the ear filled with all manner of explosions, chase scenes and the supportive original score thanks to Lorne Balfe’s skills (artfully weaving the cantus firmus of Shifrin’s long-ago creation), viewers will be delighted and barely notice the film’s over-generous length.
I reckon those who enjoy Part One will be holding their cinematic breath for the second installment. JWR
Big Easy Queens
Erynn Dalton
2023, 80 mins.
The gardenia done it
In our present-day determination by some extreme right-wing governments to ban drag shows, what fun it is to see just how harmless they are thanks to the oh-so-talented performers. This ought to be required viewing for losing-at-the polls Ron DeSantis.
At the centre of it all is drag queen extraordinaire Minnie Bouvèé whose bar is the talk of boys town largely due to her performances. Eric Swanson steps into the glimmering gowns with swish, style and complete believability. Minnie’s estranged sister, Mimi (Benjamin Shaevitz, aka Suzie Toot is equally convincing whether engaging in the family feud or kicking up a Charleston storm on the runway) has been MIA for many years. What drove the siblings apart comes in the handsome form of Matthew Darren playing Jackson Truve who, keeping it all in the family, simultaneously beds both Bouvèés, but nothing remains a secret. Minnie’s right-hand man at the club (and possibly the boudoir) is the adoring (“You’re like a mother to me”) Giuseppe. Alexander Zenoz proves to be invaluable to his boss whether delivering the mysterious bouquets of gardenias or saving Minnie from attempts on her life.
Murder you say? Minnie’s main competitor in biz is the perpetually conniving Poodles Mackenzie. Jennifer McClain digs into the campy role with panache and flair. Her devoted servant Amos (Jeffery Robertson) leaves no doubt as to which team he’s on.
Robert Leleux’s fast-paced script manages to bring much blood, working voodoos and a plot-important dream sequence all under the same roof, if at times observant viewers might be somewhat puzzled (Where is the cheque book, Amos?).
But thanks to the songs from Swanson and Darren, the ear is rewarded with some first-class artistry. The original music from Geoffrey Short and Adam Tilford is welcome in every bar.
Dalton has done a most commendable job bringing all of the disparate parts together. See for yourself, but do beware of unsolicited bouquets of flowers to die for. JWR