Tag Archives: Florence Pugh

Little Women (2019) Movie Review By Gianni Damaia


Little Women Review

Director: Greta Gerwig
Writers: Greta Gerwig, Louisa May Alcott (based on the novel by)
Stars: Saoirse Ronan, Emma Watson, Florence Pugh

I waited to publish this list until I saw Little Women. And that decision proves more and more wise the longer I sit with it. Greta Gerwig captures emotion in film as if she invented it. Similarly to my observation about how The Irishman is more than it may seemingly appear, Little Women presents far more raw, earnest brilliance than you may grasp in a passing glance or a trailer. We’ve all seen the Oscar-baity period piece with respectable actresses (doesn’t it always seem to be Keira Knightley? She’s brilliant but like…) with posh language and extravagant gowns.

We exit the theatre a little let down thinking, “I’ve seen this before”, and so we say to each other on the way out things we’d never think to say, like, “really strong production design,” or, “definitely felt authentic”. This is not that movie. Little Women is a timeless examination of intimacy. With just a line of dialogue, Gerwig is able to tether you entirely to the journey of her characters, a journey that feels like a path you’ve walked yourself. A struggle to connect or feel important or feel desired or give love. And through all of it you inherently come to understand that you’ve known these women your entire life. Through their tumultuous, childhood innocence all the way through their oppressive present.

The performances uncovered from this rambunctious group are among the year’s best, not just in their passionate devotion to the text but also their experimental desire to fight for something with their entire soul. In this way, it feels the natural assessment to address Gerwig as the next Cassavettes: director/writers that understand their stories thoroughly enough to allow others to experiment with them, knowing full well that with their guidance, a long leash will inevitably guide their troupe on the road home. Were I to name flaws (and of course I must otherwise my own OCD would crucify itself), they would be akin to some of Cassavettes best work. Gerwig is more concerned with performance than continuity (hardly a critique, I know), and I’d be remiss if I didn’t mention there was one casting choice that distances itself from the proper vision of what it ultimately is trying to achieve. But what does it matter? When I finally perfect this list and decide to publish it to the 10’s of people that may glance upon it, Little Women is likely the film I will run the theatre to go and see and cry at again. 9.7/10

Midsommar (2019) Movie Review By Philip Henry


Midsommar Review

Director: Ari Aster
Screenwriter: Ari Aster
Stars: Florence Pugh, Jack Reynor, Will Pouter, Vilhelm Blomgren

I went into this film having only seen the poster and I was already thinking – The Wicker Man, and I wasn’t far off the mark. American directors don’t have a good track record with material like this, based on traditional folklore – who can forget the awful Wicker Man remake with Nicolas Cage – but Ari Aster has done his homework and delivered a masterclass in creeping dread against the most picturesque backdrop you’re likely to see on screen this year.

I’m not going to say too much about the plot. I went into this film knowing nothing and that’s the best way to experience it, but if you need a little convincing, I’ll give you the setup from the first 15mins. Dani (Florence Pugh) suffers a tragedy in her personal life and leans on her boyfriend Christian (Jack Reynor) for support. It’s an awkward situation as Jack has been looking for a way to end their relationship, but now feels obligated to remain. To the quiet annoyance of his three male friends, Christian also invites her along on holiday with them to Sweden.

They go to a remote village where a commune exists, and where Christian’s friend Pelle (Vilhelm Blomgren) grew up. The guys are students of anthropology so they’re fascinated by this place and relish in it’s history, traditions and customs… to begin with. As soon as we arrive we get the feeling something isn’t right. Even the houses are built at odd angles, like they were designed by the Tim Burton school of architecture, but there’s also unbelievably gorgeous scenery and plenty of beautiful girls, so the guys don’t worry too much.

If you’ve seen enough movies of this ilk, you can probably guess where this is going pretty early on, but that’s not the point. This isn’t a movie that hinges on one big reveal. Lots of little shocking and worrying things turn the temperature up slowly on our tourists, so by the time they realise what trouble they’re in, it’s way too late.

I should state clearly that this is not a horror movie; not by my definition at least. Nothing supernatural occurs in this film, which is how I class a horror, but that doesn’t mean horrific things don’t happen. They do, and they’re very graphic. This film carries an 18 certificate so it has no need to pull its punches in either the blood and guts stakes, or full-frontal nudity.

Apparently Florence Pugh was also in The Falling but I don’t remember her. It was a low budget British film that got lots of critics excited back in 2014 but I thought was a bit of a snooze. Still, fair play to this actress; she’s done well going from The Falling to this, and she’s currently filming the Black Widow movie with Scarlett Johansson. Her career is on the rise and it’s well deserved if her performance here is anything to go by. She is completely convincing whether she’s plumbing the depths of grief, being the awkward fifth wheel on the boys’ trip or off her face on magic mushrooms. I was a little more familiar with Jack Reynor, who was in the feelgood Irish 80s-set musical Sing Street – a film well worth checking out if you’ve never seen it – and he’s also exceptionally good. The rest of the cast were unknown to me but no one drops the ball and the acting in general is of a very high standard.

Midsommar is a slow burning examination of grief with some shocking set pieces peppering an exceptionally well written script. Aster’s previous effort Hereditary was lauded by many horror fans and got some great reviews. I thought it was two-thirds of a great movie that was a bit let down by the last act. This follow-up suffers no such failing. I was gripped from start to finish. It’s a long film, coming in at 2hrs 27mins so don’t have the jumbo soft drink with your popcorn, because you will not want to have to duck out in the final act of this film. You have been warned.

Malevolent (2018) Movie Review By Stephen McLaughlin


Director: Olaf de Fleur Johannesson (as Olaf De Fleur)
Writers: Ben Ketai (screenplay by), Eva Konstantopoulos (screenplay by)
Stars: Florence Pugh, Ben Lloyd-Hughes, Scott Chambers, Georgina Bevan

Siblings Jackson (Ben Lloyd-Hughes) and Angela (Florence Pugh) run a profitable ghost busting racket; swindling the bereaved with fake detection equipment and Angela’s paranormal ‘visions’. When hired to investigate a haunted old home, they uncover its terrifying past. With Angela on the edge due to lack of sleep, and stressed she is no longer certain what is real. Supernatural terrors are the least of their worries when they discover the real evil lurking in the isolated house.

Malevolent is directed by Olaf De Fleur and premiered on Netflix in early October 2018 here in the UK. I will say that to the films credit it did try something different in regards to the storyline and for me it was a film of two halves. The first half being a decent build up although a little predictable and the second half being not that scary (more eery) but some decent visuals. In other words the film is a mixed bag. De Fleur’s experience in documentaries over the past decade is evident here as the pacing is almost segmented. 

The acting and casting for Malevolent I couldn’t fault. Pugh, Lloyd-Hughes, Chambers and Bevan are the main actors in the film supported by veterans Celia Imrie as Mrs. Green and James Cosmo as the Grandfather. If I had one niggle I felt the characters of Angela and Jackson were more of a disjointed couple than Sister and Brother. Nevertheless the cast albeit a young cast perform well and for most of their screen time show good chemistry. The inclusion of Imrie and Cosmo (who Incidentally, appeared together in Highlander) into the film was a wise choice though. It needed their presence and experience although limited and their roles were important to the overall story. 

The feel and look of the film captured an eeriness that I felt helped the tone of the film, the pacing at times was a little choppy, although didn’t make up for overall plot, it gave the film an atmosphere. This is most evident in the house that was predominantly used as part of the story and its climax and to an extent was a character of its own. There was some really good technical shots and familiar angles used that have became part and parcel of the horror genre. That isn’t a criticism by any means, it adds to the audience members experience and if you can make the viewer feel like they are there, then you have succeeded. 

Overall Malevolent is a low budget horror flick that I thought was not bad. The cast and look of the film was decent and I did get some enjoyment out of the experience. Sadly the films story is a little flat at times and the ending is a little predictable, which shouldn’t be the case in any horror film. Florence Pugh probably stood out the most in the cast for her performance and I recently watch her in the Outlaw King with Chris Pine on Netflix. I think we will be seeing a lot more of Pugh in the years to come as her performance was solid. If you are a massive horror film fan then you may be left disappointed with the overall plot and lack of suspense.