It is a movie about the pressurised containment of toxic masculinity, and the power of sexual promiscuity. Campion’s film was designed to be an indulgence, one in which the viewer is meant to seep each and every mindful detail out of its rich atmosphere. The beautifully captured Australian plains are cast and feature as a wholly realised character in the mountainous Montana fields. Campion’s watchful eye calculates each visual as its own unique puzzle piece in a bizarre and twisted story.
No Way Home introduces an unlikely sort of plot, the kind of magical, accidentally multiverse-opening jargon one could expect from a film this ambitious. But if there is one thing we have learned in years of watching films like this, it is that the plot works best as a backdrop, a set piece for which to detail poignant character discoveries and intimate details of interpersonal communication with inherently high stakes, and on this front No Way Home inarguably succeeds.
Endgame meets expectations without really ever exceeding them.
Child In Time’s main purpose is to really examine the effects of grieve, the loss of a child, the effects that loss has on relationships and love itself.
Marvel’s Doctor Strange (Benedict Cumberbatch) is an interesting and intriguing take on the world of illusion within film.