Meewella | Critic

According to P

Tag: Lashana Lynch

QuickView: The Woman King (2022)

The Woman King poster

“We are the spear of victory, we are the blade of freedom, we are Dahomey!”

Nanisca

A historical epic about the Agojie, the all-women warriors of the Dahomey tribe, The Woman King follows in the wake of Black Panther in its celebration of vibrant African culture within a big budget action film. The focus on the training and exploits of these warriors against an existential threat to the Dahomey bears considerable similarity to 300 — there is breadth to the story if not depth. Thematically, The Woman King directly tackles the transatlantic slave trade and the murky lines in African complicity pressured by colonial incursion. The kinetic close-quarters combat is well choreographed, although frequent cuts around the battlefield can make the action hard to follow. It is always pleasing, however, to see darker skin tones shot well in low light. The Woman King‘s real strength lies in its performances, led by Viola Davis as the deeply conflicted general beneath her cold exterior, ably challenged by newcomer Thuso Mbedu. The slow start allows the development of the interrelated personal themes of pride — earned and demanded — and the attempt to sever oneself from a painful past. John Boyega is clearly in his element as the reformer king (putting aside questions of historical accuracy of the individual in favour of a more nuanced examination of slavery and colonialism). Historical epics were once a mainstay of tentpole summer releases, and The Woman King provides the essential ingredients of engaging personal stories within impressive sets and rousing battles.

8/10

QuickView: No Time To Die (2021)

“Harder to tell the good from the bad, the villains from the heroes these days.”

Felix Leiter

Typically the Bond films of each actor to take on the role end in a downward trajectory, but the inconsistent films of Daniel Craig’s tenure have culminated in perhaps the best swansong for a Bond actor to date, even if it sits firmly in the middle of the pack when it compared to Craig’s previous outings. Bond is at its best when it reinvents itself and, as I have previously opined, it arguably has less to do with the actor than the direction. Cary Fukunaga’s languid pacing and sombre tone suits the more personal story — even its opening swaps the usual kinetic action for a flashback horror sequence with an endangered child. No Time To Die is considerably too long at 163 minutes, featuring plenty of striking locations but little memorable action (aside from an early car chase and a tense woodland hunt). Ana de Armas brings the most energy to the film, though her presence is sadly restricted to one self-contained sequence. There has been an organic character arc through the Craig era from Bond proving himself in Casino Royale to the seasoned professional in Skyfall and now the introspective retired agent recognising that the politics behind espionage have become increasingly grey. A long-promised and overdue shift in this final outing is the greater depth to the female operatives and to Bond’s relationships. Conversely, Safin is one of the weakest Bond villains to date (through no fault of Rami Malek) and the franchise’s continued reliance on facial disfigurement as a shorthand for “villain” — with three examples in this film alone — is a tired anachronism. No Time To Die may not be Bond at its best, but the franchise continues to mature in a fitting send-off to its most human incarnation.

7/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

Up ↑