Tommaso (2020)

Direction: Abel Ferrara
Country: Italy / USA / other

In Tommaso, cult director Abel Ferrara (Bad Lieutenant; King of New York; Pasolini) puts forward a confessional semi-autobiographical work where his real wife and daughter - Cristina Chiriac and Anna Ferrara, respectively - star alongside his first-choice actor, Willem Dafoe (their fifth collaboration). The latter gives a powerful central performance as the title character, an American filmmaker living in Rome.

As a recovered alcoholic and drug addict, Tommaso doesn’t miss a rehab session, also spending time giving acting classes and practicing yoga, whose breathing techniques pacify his busy mind. However, he’s going through a tough phase with his autonomous wife Nikki (Chiriac). The communication between them is lacking and Tommaso is gradually pushed into a vortex of madness and anger.

With surrealistic injections that take the form of erotic, sinister or fatalistic episodes in accordance with the main character’s state of mind, this gritty drama also mixes the earthly and the esoteric, revealing a philosophical ambiguity that keeps us seeking for answers and unbroken lines to follow. Ferrara shots with substance and quirkiness and provides a very human experience.

Husband and wife have their secrets, but love can’t be bought. Reality or illusion, we sense a tragedy coming across with very cinematic sensibility. That’s the nature of Ferrara’s world; a world where pleasure and pain can’t stay apart from each other.

All things considered, this is all about feelings, and both Dafoe and Ferrara denote enough inspiration to prevent this idiosyncratic statement to sink into oblivion.

The Midnight Sky (2020)

Direction: George Clooney
Country: USA

George Clooney stars in and directs The Midnight Sky, a futuristic survival tale incapable of keeping up with the intriguing tone of its preface. Before going from mildly entertaining to disgracefully stagnant in its first two thirds, the film becomes unbearably soppy in the third act. Screenwriter Mark L. Smith (The Revenant) was at the wheel of this meager adaptation of the 2016 book Good Morning, Midnight by Lily Brooks-Dalton.

Clearly seeking paths of least resistance in detriment of an imaginative vitality, Clooney devises a two-front odyssey - with the story scuttling back and forth between Earth and space - whose articulation becomes problematic. In truth, its sections operate as a mechanism with a deficit of authenticity, and neither of them, on its own, are particularly fascinating.

The plot centers on a dying scientist, Dr. Augustine Lofthouse (Clooney), who remains at a remote observatory located in the Arctic. Everyone else had left the place, except for a little girl named Iris (Caoilinn Springall). He then tries to communicate with the crew of a stranded spaceship, whose mission was to find the next habitable planet for the human race in response to the harmful radiation that’s been hitting the surface of the Earth. 

This slogging post-apocalyptic fiction composed of space inanity and uninspired snow routes crawls right toward disappointment, lacking smart moves and shaping up as a collage of other already existing ideas. A monumental let down.

Saint Maud (2020)

Direction: Rose Glass
Country: USA

It's a remarkable debut feature for Rose Glass this Saint Maud, a profoundly imaginative and skillfully framed allegory solidly anchored in religious and supernatural themes and bolstered by unblemished performances by Morfydd Clark and Jennifer Ehle. Expect to be dragged into dark and sinister places.

Alone and utterly devout to Roman Catholicism, Maud (Clark) is a hospice young nurse whose new job consists of providing palliative care to a once celebrated dancer/choreographer, Amanda Kohl (Ehle). As she peeks the latter’s erratic behavior, Maud becomes utterly judgmental and controlling, progressively feeding this freaky obsession that she will become the savior of her patient’s soul. However, the relationship between them deteriorates before that happens, and the nurse is fired at a time that we want to know more about her mysterious past. Unemployed and emotionally unstable, she descends into a personal hell of sin, self-penitence and punishment.

Ms. Glass reveals to be a master at her craft, and the tension-rich premise is not wasted for a single minute. During this bizarre journey you’ll find moments of unexpected power that will keep you in a permanent unsettling state.

Saint Maude is a visceral piece of cinema that can be considered too radical by the easily scared, but, on the other hand, brings competence and freshness to the saturated horror genre. It’s an all-front winner that captivates our attention through arresting imagery, psychological distress and demented moods.

The Way Back (2020)

Direction: Gavin O’Connor
Country: USA

The eighth feature film from American director Gavin O’Connor (Tumbleweed; Warrior), The Way Back, is a clichéd and overlong mix of addiction drama and revitalizing sports, whose unbalanced parts diminish the force of the whole. 

Ben Affleck (Argo; Gone Girl) stars as the miserable Jack Cunningham, a construction worker and former basketball all-star who spends his nights drinking like a fish as a consequence of the loss of his little son to cancer and subsequent separation from his wife, Angela (Janina Gavankar). The first opportunity for redemption arises when he’s invited to coach the catholic high school basketball team of Bishop Hayes. Jack reformulates the team, promoting the introverted Brandon Durrett (Brandon Wilson) to captain. The latter lacks confidence, going through a similar problem with his father as Jack went in his youth. But miracles do happen, and the team step up efforts to reach the playoffs, having a sober Jack at the helm. Yet, a relapse puts everything in jeopardy.

While the script by Brad Ingelsby (The Dynamiter; Out of Furnace) never quite crackles as it might, O’Connor tries to infuse some heart in the execution, only succeeding from the sports point of view. In the end, regardless of an Affleck fully committed to his role, we have an ordinary film, respectable in terms of message but with a superfluous flair for melodrama. 

The Way Back brings nothing new and its authors seem satisfied with the overdramatic artifice set to obstruct imagination.

Driveways (2020)

Direction: Andrew Ahn
Country: USA

Notably generous and affecting, Driveways is a low-key drama film about transitions in life, which gets its primal source of emotion from a sweet inter-generational friendship. 

The lonely 8-year-old Cody (Lucas Jaye) accompanies his single-mother, Kathy (Hong Chau), to her older sister’s house, which is abandoned since her death. While she cleans up what seems to be a hoarder’s nest, the fragile, sensitive Cody befriends the Korea war-vet next door, Del (veteran Brian Dennehy passed away last May at 81), preferring to hang with this widower than with the kids of his age.

Filmed with delicate sensitivity and acted accordingly, Driveways borrows the placid tones of Hou Hsiao-hsien, Hirokazu Koreeda and Andrew Yang for its own good. Yet, even developing under a familiar ambiance, writer/director Andrew Ahn (Spa Night) never allows it to sink into draining melodrama. He directs with a cool, steady hand, renouncing to shaky or brusque camera movements in order to take the best introspective abilities from the young Jaye, who is the real star here.

Transitions are not just related to physical moves from one place to another, but also to learning from life in its different stages. It was quite touching to see Cody and Del open up with each other about their concerns. 

Although the languid pace won’t serve every viewer’s motivation, Ahn manages to give the story a nice simple touch and warm coloration.

Bad Education (2020)

Direction: Cory Finley
Country: USA

Cory Finley’s follow up to his well-received debut feature, Thoroughbreds (2017), is this crackling fact-based drama, Bad Education, in which he further explores directorial capabilities by giving the film an adequate pace, structural organization and gradual emotional intensification. 

The film builds its case around the painful truth of embezzlement - the biggest in the American history - occurred in Long Island’s Roslyn High School in 2004, when assistant superintendent Pam Gluckin (the always infectious Allison Janney) and the fake-to-the-bone district superintendent Frank Tassone (a charismatic Hugh Jackson proving he can be more than just Wolverine) have stolen more than 11 million dollars from the district’s public funds.

Although with small branches in the accuracy, the script by Mike Makowsky was found pretty effective, developing with a fine perspective and giving the audiences an inside look on how hedonists operate and think, just as if they were above any regulation or authority. 

Jackson gives a tour-de-force performance, portraying Tassone with incredible alertness and spontaneity. His deceptively practical character fully emerges as his luxurious double life is gradually exposed and his name implicated in first class flights, expensive hotel bookings, fancy suits, facial plastic surgeries, exotic vacations for two, and more, all with stolen money from the school.

The lack of integrity and the disrespect shown by these spenders are outraging, and Finley was able to convey that aspect with lucidity and competence.

Relic (2020)

Direction: Natalie Erika James
Country: Australia / USA

Relic, an adrenaline-charged horror film built on a proper crescendo, is the solid feature debut from Natalie Erika James, who sets up that sort of mood that, as a rule, keeps you on your toes. The story, written by the director and Christian White, centers in a mother and daughter who are deeply affected by a generational curse. 

Kay (Emily Mortimer) leaves Melbourne and heads to the remote area where her missing mother, Edna (Robyn Nevin), lives alone. Accompanied by her own daughter, Sam (Bella Heathcote), she finds an empty house when she arrives. But suddenly her mother, who has dementia, comes back from nowhere. She seems fine, except for an unexplainable black round bruise placed right in the middle of her chest. From then on, the supernatural activity in the house grows from mild to persistent. Edna behaves weirdly and talks about a strange presence in the house, the one she sometimes talks in a low voice. Is it just dementia? Kay and Sam will find out while crossing hidden rooms and labyrinthine corridors.

The film is a composite of classic startles and creepy scenes drawn from the horror mechanics compendium. Although ingeniously crafted, the somewhat tacky ending didn’t work for me. Having said that, Mrs. James is a gifted young filmmaker to keep an eye on in the future. 

Sound of Metal (2020)

Direction: Darius Marder
Country: USA

In his first feature film shot in four weeks, Darius Marder tells us a painful story about a heavy metal drummer in the pitiable situation of completely losing his hearing. Apparently, this is something he seems incapable to overcome. Marder, who teamed up with Derek Cianfrance in the writing process (both had collaborated in the latter’s The Place Beyond the Pines), offered the main role to Riz Ahmed (Four Lions; The Sisters Brothers), here solidly supported by Olivia Cooke, Paul Raci and Mathieu Amalric.

Ruben Stone (Ahmed), a former heroin addict who grew up a bit everywhere in America, found his balance when he met his girlfriend, Lou (Cooke), with whom he formed a successful heavy metal duo. They have been living in a RV for the past four years, fully committed to touring and recording. However, due to extreme noise exposure, Ruben is on the verge of becoming deaf. The concerts became agonizing experiences, and the frustration and panic sometimes lead to attacks of fury. We can sense the anxiety in the air.

Forced by Lou, Ruben attends a program for deaf recovering addicts where he is not allowed to have any contact with the exterior world. Under the supervision of Joe (Raci), an ex-alcoholic who lost his hearing in the Vietnam war and believes that deafness is not a handicap, Ruben learns from and gives a lot to the program. But he still has his own plans. What he didn't realize immediately was that the world around him has changed; thus, the same ‘rhythm’ is no longer possible.

The story oozes emotional poignancy, but loses force as it moves forward, partially thwarted by a predictable finale. Nevertheless, Marder grabs us, not so much with the vociferous metal music or any type of artistic pose, but rather with an effective sound design and narrative quality. 

Sylvie's Love (2020)

Direction: Eugene Ashe
Country: USA

Tessa Thompson (Dear White People; Thor: Ragnarok) and former NFL player Nnamdi Asomugha (Crown Heights), who also co-produced, star in Sylvie’s Love, a romantic tale that, transpiring passion and charm in its initial phase, becomes nearly strangled by melodramatic pressures just when both the emotional maturity and professional responsibilities of the characters emerge. 

Director Eugene Ashe directs with warmth from a script he wrote, in which a jazz musician, Robert (Asomugha), falls in love with his boss' daughter, Sylvie (Thompson). The inconvenience, though, is that Sylvie is engaged to a well-positioned man. After a five-year separation, they run into each other again, abandoning themselves to the fickle wind of destiny and deciding to work diligently against difficulties. Still, all the domestic conflicts are exclusively depicted as emotional by avoiding any sort of verbal confrontation. This maintains a lightness in the storytelling that, refusing to take the magic of love out of the air, doesn’t always cause a profound impression. 

With all the schmaltzy deceptions arriving by the end, Sylvie’s Love may still find its place in the hearts of those looking for undemanding romantic dramas.

Soul (2020)

Direction: Pete Docter
Country: USA

Gifted writer/director Pete Docter has been a stalwart in the animation genre, gifting us with delightful features such as Monsters Inc. (2001), Up (2009), and Inside Out (2015). His latest gem, Soul, is another superbly crafted and keenly felt computer-animated spectacle that hypnotizes and captivates in its visual, sonic and emotional forms.

This time the story centers in a jazz pianist, Joe Gardner (Jamie Foxx), who refuses a full-time job with all the benefits as a teacher to follow his dream of gigging. His opportunity arrives when he is hired to join the celebrated saxophonist Dorothea Williams (Angela Bassett) in her residence at the Half Note (a recognizable illustration of the iconic NY venue The Village Vanguard). Unfortunately, on the day he was supposed to debut with the group, he has an accident while walking on the busy streets of New York. While in a state between life and death, his soul appears at the gates of the Great Beyond, but he will try to return to his body with the help of the unsettled, cynical Soul 22 (Tina Fey).

The film is about finding your own spark among all the troubles of having to live on Earth. Soulful in every aspect, the story is also a love letter to New York, warmly depicting its beauty and bustling activity - rats dragging pizza slices, people eating heros, characteristic barber shops, peculiar subway stations… it’s easy to grow deeply fond of a film that manages to keep things at the peak without ever descending to the valley.

Whereas the original music of the metaphysical sequences was composed by Trent Reznor and Atticus Ross, both from Nine Inch Nails, the New York scenes had in pianist Jon Baptiste an original creator. 

Clever observations and funny lines deliciously intertwine in a eye-grabbing work of art that is both spiritually rich and terrestrially encouraging.

Shirley (2020)

Direction: Josephine Deker
Country: USA

The biographical drama Shirley often takes the form of a psychological thriller as it depicts a particular period in the life of American horror fiction writer Shirley Jackson. The talented director Josephine Deker (Madeline’s Madeline) works from a script by Sarah Gubbins, who, for her part, adapted Susan Scarf Merrell’s 2014 novel.

With riveting central performances by Elizabeth Moss, Odessa Young and Michael Stuhlbarg, the film plays like a slick tale with moral implications. Moreover, it can be considered a brilliantly insidious character study with the virtue of unpredictability. 

Sporting a cast of expertly played characters, the film exposes a frenetic sensibility that hooks you in, especially due to Moss, who steals the show as the emotionally vulnerable title character. She and her husband - the unfaithful, bohemian and opportunistic professor Stanley Hyman (Stuhlbarg) - agree to host an ambitious young couple, Fred (Logan Lerman) and Rose Nemser (Young) at their home in Bennington, Vermont. This occurs at a time when Shirley is utterly depressed as she struggles with writer’s block and a bout of agoraphobia. An unremitting pressure affects all the characters and you witness the tension spreading like a wildfire in dried land. However, what was abusive becomes sensuous and provocative. Is there truth behind the actions or just a mere playground for writing?

Gorgeously shot, with a dazzling camera work and a tone that ranges from disconcerting to subversive, the film is still very much recommended, even when, in its final third, subtle oscillations in intensity and flow are detected. In the end, there's no ambiguity to be found, just pure madness and deception.

Ma Rainey's Black Bottom (2020)

Direction: George C. Wolfe
Country: USA

Set in 1927 Chicago, this fictional story co-produced by Denzel Washington and directed by George C. Wolfe, imagines an eventful one-day recording session in the life of the real mother of the blues, Ma Rainey (1886-1939), one of the earliest African-American professional blues singers to record.

Actor turned screenwriter Ruben Santiago-Hudson drew from August Wilson’s stage play of the same name with satisfactory results but never detaching completely from its theatrical roots. 

The film deserves accolade for its accomplished period details, ongoing energetic dynamics, effective editing and powerhouse performances from Viola Davis (Fences; The Help) as the mercurial blues singer, and the late Chadwick Boseman (Black Panther; 42) in his last role as the confrontational, hot-tempered yet deeply hurt horn player Levee Green. An uneasy tension firstly pervades among the black musicians - even when mixed with a few funny lines - and then expands to the racial oppression, which is when things get really serious. 

The characters reveal to be meaningful as they express ingrained thoughts and narrate disturbing stories, both personal and unconfirmed. Almost in counterpoint, the film swings unabashedly at the sound of jazz while capturing the atmosphere of that specific time.

Trauma, mistrust, anger, commercial exploitation and music form an explosive cocktail whose tragic outcome makes us think deeply about who ends up paying the price for the white supremacy that always reigned in America.

The Kid Detective (2020)

Direction: Evan Morgan
Country: Canada

The Kid Detective, an imperfect yet better-than-expected mystery film with an offbeat central character, is the feature debut of its writer/director Evan Morgan. 

The story, set in the small town of Willowbrook, follows Abe Applebaum (Adam Brody), once considered a prodigious kid detective as he boasts more than 200 cases solved. Now, at 31, he has his own office but lost most of his confidence after an unsolved abduction. Abe still loves cryptic crime puzzles but has been struggling with addiction lately. This factor not only gave him a bad reputation but also made him sloppy in appearance. Clients don’t abound anymore and his junkie, goth-looking secretary has often to remind him to come to work. The one to change all that is the young Caroline (Sophie Nélisse), who hires him to find out who brutally murdered her boyfriend. This is Abe's biggest and most dangerous case, which makes him super focused again, even aggressive when he has to.

Perhaps too easygoing, the film never quite transcends the sum of its parts. There are a number of awkward moments that feel way off the mark, but the wry humor and the groovy flow of things make it a watchable experience.The well-orchestrated jazzy score by Jay McCarroll contributes heavily to the private eye spirit.

Never Rarely Sometimes Always (2020)

Direction: Eliza Hittman
Country: USA

Having gut-wrenching performances by newcomers Sidney Flanigan and Talia Ryder as its pillar of strength, Never Rarely Sometimes Always is a poignantly portrayed chronicle about the undesired pregnancy of a teenage girl that not for one second feels forced. American writer/director Eliza Hittman has been getting recognition worldwide with coming-of-age dramas set in New York - It Felt Like Love (2013) and Beach Rats (2017) - but this latest release, a sure-footed look into female adolescence, sexuality and abortion, is now my favorite of her short filmography. 

The vulnerable Autumn (Flanigan), 17, spends her time studying, working in a supermarket and occasionally performing as a singer/songwriter in a rural Pennsylvania town. After weeks waiting for her period, a pregnancy test confirms the worst scenario, forcing her to leave the state to have a medically safe abortion in a New York clinic. The only person who’s aware of her condition is her cousin, Skylar (Ryder), who willingly accompanies her. But what should have taken one single day, lasts three due to bureaucratic requirements. Out of money and with no safe place to stay, the girls will have to depend on strangers if they want to, at least, have a meal.

The drama feels grippingly real. There’s an emotionally devastating scene in which Autumn, visibly overwhelmed, answers a very personal test about her relationships. This is a key point in the film, which, revealing some grim realities, stays with us long after the credits roll. Directorial sensitivity and narrative focus remain fundamental elements of the quality work that Hittman has been developing.

First Cow (2020)

Direction: Kelly Reichardt
Country: USA

The illustrious helmer Kelly Reichardt drew inspiration from Jonathan Raymond’s novel The Half Life, to deliver a multi-ethnic rural ballad titled First Cow. This is not the first time Reichardt works with Raymond. The Oregon-based writer is her regular collaborator, also credited for the screenplays of Old Joy (2006), Wendy and Lucy (2008), Meek’s Cutoff (2010) and Night Moves (2013).

Here, Reichardt's slow-burning style is loaded with lush, impeccably framed images where the magnificent use of light creates beautiful tonal contrasts. 

With John Magaro and Orion Lee in the leading roles, the film, set in the 1820’s Oregon, centers in the friendship and artful practices of two men, Cookie Figowitz (Magaro), a quiet traveler and excellent cook, and King-Lu (Lee), a sympathetic Chinese immigrant on the run. Both men have dreams of their own and seek opportunities to thrive in the Oregon Territory, which seems to have been the right choice when they start improving their finances by selling daily batches of homemade oily biscuits. The problem is that their secret ingredient, cow milk, is stolen from Chief Factor (Toby Jones), a wealthy Englishman who has a property in the settlement and owns the only cow milk in the whole region.

Evoking the old Western style, this is subtle, intimate cinema devised with pinpoint accuracy, disarming minimalism and arthouse proneness. A wisely crafted ode to friendship that is also an engrossing survival tale. It’s possible that the finale, abrupt as it is, may frustrate some viewers, but Reichardt’s sharp lens hypnotizes all the way through, influencing the mood and defining the surroundings with a legitimate purpose.

Beastie Boys Story (2020)

Direction: Spike Jonze
Country: USA

This is an atypical documentary about the hardcore NYC band Beastie Boys - made famous for merging punk rock and hip-hop in an explosive way - directed by Spike Jonze. The latter's extensive filmography has been filled with inventive fictional accounts such as Being John Malkovich (1999), Adaptation (2002) and Her (2013), as well as short music videos for Bjork, Sonic Youth, R.E.M., and many other artists coming from all kinds of genres.

In front of an audience, with a huge screen behind them displaying archive footage, photographs and music clips, Michael Diamond (a.k.a. Mike D) and Adam Horovitz (Ad-Rock) share the stage of the King’s Theatre in Brooklyn to tell their story and how they became obsessed with rap after hearing Run DMC. 

The irreverence and insolence of the trio, both found in concert and in real life, are acknowledged by these, now mature, rock stars, who admit that their biggest goal was always to make each other laugh. They talk about their influences, the momentary tiredness of touring, the constant necessity of change, triumphs and disappointments in the music business, and the painful loss of the third Beastie Boy, Adam Yauch (MCA), in 2012 to cancer.

Informative but feeling somewhat ‘naked’ in its step-by-step narrative, the film has its most interesting moments when the personalities of the members are explored through a recaptured past immersed in controversy and attitude. The musical moments should be more abundant, and it’s easy to guess that the film might become insipid if you’re not a fan of the band. Otherwise, expect a fun, nostalgic ride to the idiosyncratic world of the Beasties. No sabotage allowed.

The Whistlers (2020)

Direction: Corneliu Porumboiu
Country: Romania

In his latest release, writer/director Corneliu Porumboiu probes the neo-noir crime thriller genre with unremarkable results. The Whistlers stars Vlad Ivanov (4 Months 3 Weeks and 2 Days) as Cristi, a secretive and corrupt cop who works on the side for the Romanian mafia.

As a solitary money hunter, he tries to deviate the attention of his greedy boss, Magda (Rodica Lazar), at the same time that protects Gilda (Catrinel Marlon), a femme fatale turned into the woman of his dreams. An agreement with the latter will take him to La Gomera in the Canary Islands to learn the whistling language known as silbo gomero.

Although never confusing in tone and not relying on any type of show-off, I wish the film was wilder and with less cerebral maneuvers. The script is rife with superficialities, wobbly in the details and sparse in thrills, whereas the execution is permanently cold but maintaining an artificial pose of cleverness. Occasionally the actors make it look entertaining, but for most of the time, it feels predictable due to an overwhelming dearth of surprises.

Corruption, double crosses and criminal schemes have been the essence of Porumboiu’s filmography, yet The Whistlers, playing a more crowd-pleasing and less ambitious formula, never reaches the mordacity and intelligence of 12:08 East of Bucharest (2006), Police Adjective (2009) and The Treasure (2015). I was unimpressed except for the whistling language itself.

Babyteeth (2020)

Direction: Shannon Murphy
Country: Australia

Orchestrated with bittersweet notes, this fine Australian coming-of-age drama also takes romance to interesting levels of satisfaction. In her feature debut, director Shannon Murphy materializes an ultra-sensitive stage play, written by Rita Kalnejais, without falling into a typical tearjerker. And that's because the story can be utterly sad and maniacally offbeat at the same time. There’s some weird, comedic tones that make the heavier moments feel almost worry-free, and then there’s the talented cast enhancing what was already a well constructed course of events.

Eliza Scanlier (Little Women) is Milla, a terminally ill teenager who falls in love for the first time. However, the homeless boy she brings home, Moses (Toby Wallace), is a salvageable drug addict with a good heart. Milla’s parents - the emotionally unstable Anna (Essie Davis) and her psychiatrist husband Henry (Ben Mendelsohn) - are visibly disturbed with the situation but, little by little, concede this whim to their dying child. All characters have their burden, and the film becomes as moody and volatile as they can be. Hence, its emotional ebbs and flows keep us immersed in a flux of tension and release that pays off.

Avoiding to cut through superficial surfaces of distress, Mrs. Murphy builds a tale of implacable clarity. Babyteeth isn’t perfect, but it feels real, even in moments of chaos.

Tesla (2020)

Direction: Michael Almereyda
Country: USA

In recent times, American director Michael Almereyda has been increasing significantly his group of admirers with curious films such as Experimenter (2015) and Marjorie Prime (2017).  However, he unsuccessfully attempts to inject chunks of modernity (e.g. a laptop, a cell phone, roller-skates and modern pop songs weren’t suppose to appear in a reconstruction of the late 1800s) in Tesla, a dismal biographical account of the Serbian-American inventor who majorly contributed to the development of the AC electricity supply system. 

Although not technically exhaustive, the film drags for several periods of time while building up a husky atmosphere with a slightly tense score and lifeless visuals. 

Played without brilliance by Ethan Hawke, the humorless and low-profile Tesla is seen disputing electrical theories with his former employer Thomas Edison (Kyle MacLachlan), bashfully flirting with Anne Morgan (Eve Hewson) - the film’s narrator and the daughter of his powerful financier, J.P. Morgan (Donnie Keshawarz) - and bewitching the famous French actress Sarah Bernhardt (Rebecca Dayan).

The film also takes time to address the issues found in the very first execution by electric chair. However, if the pace needed intensification, then the low budget certainly hampered Almereyda to shot the film in 35mm as it was planned. Still, the worst moment of the film coincides with Tesla’s cheap interpretation of Tears For Fears’ "Everybody Wants to Rule the World", a smashing hit from the 1980's.

Like Tesla, perhaps Almereyda wanted to look ahead. Yet, this loosely adapted biopic never goes in the right direction with its unstylish retro-modern hybridity.

Synchronic (2020)

Direction: Justin Benson, Aaron Moorhead
Country: USA

I was never a big fan of the presumptuous, convoluted and gimmicky stories presented by the team of American filmmakers/producers Justin Benson and Aaron Moorhead (Resolution; Spring; The Endless). Their fourth feature, Synchronic, is the most accessible thus far, but despite the creators' attempts to engulf us in the mystery, it remains frustratingly limited, especially plot-wise. As usual, Benson wrote the script while Moorhead took responsibility for the cinematography.

This half-psychedelic sci-fi thriller revolves around two paramedics and best friends - Steve (Anthony Mackie) and Dennis (Jamie Dornan) - who start feeling depressed, not just with what’s going on in their personal lives, but also while working night shifts. The reason is a new synthetic drug, Synchronic, which is doing a lot of damage. Its consumers whether get severely harmed or vanish without a trace. Following the mysterious disappearance of Dennis’ teenage daughter, Brianna (Ally Ioannides), Steven decides to investigate further by exposing himself to the drug. He finds that Synchronic is a time-travel pill that can give you a 7-minute regression to an indistinct point in time but can also trap you in there forever. In any case, physical pain is real.

Few scenes come off as entertaining, and the experience becomes even more nonsensical if we think about the geographical factor of the experience - the location you are when the drug kicks in determines to where you will travel.

This new Benson/Moorhead oddity depicts friendship, courage and sacrifice, but feels contrived at every move. In the end, I mourned a dog, turning my back to all the other unremarkable characters.