The Brown Note Movie Review

After starting last year giving Chloe Zhao my first ever 10/10 for a new release for my film of the year, Nomadland, the opposite end of the scale for one of the limpest ever Marvel movies. A perfect embodiment of the Star Wars/Phantom Menace paradox. That 40 years after Star Wars release, Hollywood still doesn't understand that the number one factor in the public loving a big budget blockbuster is not the special effects but the cast.

Popular opinion #947. In light of Damon Albarn (whose music I don't really rate either) and his nuclear attack on saint Taylor Swift and her writing her own songs, he used Billie Eilish of all people as an example of her opposite. Garbage. Billie Eillish is the most fabricated star this century, a corporate hack who met with both Apple and fashion house Channel to define her image (like all natural bedroom indie breakout stars do...) before releasing any major music. Her maudlin croak, mediocre music and force heroin chic look could exist without comment were it not so relentlessly over promoted.

This biopic of Serena and Venus Williams indomitable father, is obvious Oscar bait but has a decent stab at a worthy subject. Centered by a possible career best from a triumphant Will Smith, after wallowing in a career low for that last few years. The screenplay doesn't match his performance and we could do with a lot more grit but it's certainly emotionally satisfying and exciting entertainment.

I must admit I stand in opposition to the hugely negative response to the most expensive Netflix film in history. It wasn't as cynical or bombastic as I'd been led to believe, it's actually kinda amiable and fun. Even, dare I say it, quite elegant. The mega watt leads are good value, the long form set pieces well executed and I didn't feel that dirty after watching it.

The only achievement this sequel, to a highly lack-luster original, has to its name is doing everything the first did badly, even worse. The charm of Tom Hardy and Michelle Williams withstanding, nearly everything is rubbish, it has half the story and some of the worst CGI $200 million can buy.

Exactly what it says it is, with a worst film of the year guaranteed to be a popular choice.

Working our my usual radio show end of year best-of lists, I was struck by how weak 2021 was - across albums, movies and tracks, the lamest of the century, why?

In the weakest year for albums, tracks and movies of the century.

I've long detested Wes Anderson as the epitome of a director that substitutes kooky and try hard comedy for his lack of artistic substance and 'Dispatch maybe his MOST Wes Anderson film of all. Seemingly a film that consists of no connective tissue and functions far more asa  movie about Wes Anderson movies than about the journalists and writers it tries to celebrate.

Do not believe the hype about this box office bomb. I was expecting more of the turgid, awful Kingdom of Heaven style Ridley Scott than Gladiator Ridley Scott - yet this is his most complex, ambitious and challenging film of his career. Of course it tanked - it's closer in tone to an art-house medieval flick like this year's The Green Knight than something rousing and dynamic like Gladiator. A timely, adult and provoking film bolstered by it's three act play - the same story from each of an excellent Matt Damon's, Adam Driver and Jodie Comer's differing perspectives, taking a sobering look at consent, pulling no punches or offering easy answers. The cherry on top of one of the most under appreciated films of the year is it's near verbatim recite of a ridiculously improbable, yet fully documented 700 year old true story.