Tag Archives: Anya Taylor-Joy

2022 Films, Anya Taylor-Joy, Comedy, Dark Comedy, Horror, Horror-Comedy, Ralph Fiennes

The Menu-2022

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The Menu-2022

Director Mark Mylod

Starring Ralph Fiennes, Anya Taylor-Joy

Scott’s Review #1,345

Reviewed February 20, 2023

Grade: B+

The premise of The Menu (2022) immediately elicited my utmost pleasure. A self-proclaimed ‘foodie’ with a long way to go in being an expert, a film about a high-caliber restaurant with an extravagant and sophisticated tasting menu was impossible to ignore.

Throw in the horror and dark humor genres and you’ve got the icing on the cake.

After all, being fortunate enough to have experienced fine dining like in the film makes me repeatedly reminisce about those adventures. Those enchanted by such tasting menus rich with flavor and style must see The Menu.

Cinematically, the film reminds me of part Saw (2004), part Knives Out (2018), with a dash of novelist Agatha Christie’s Ten Little Indians story and a sprinkling of a Jordan Peele project for the social commentary.

A young couple Margot (Anya Taylor-Joy) and Tyler (Nicholas Hoult) travels to a sunny coastal island to eat at an exclusive restaurant named Hawthorn, where the chef (Ralph Fiennes) has prepared a lavish menu.

They are joined by other guests including a food critic, her editor, wealthy regulars, three businessmen, a washed-up movie star and his assistant, and the chef’s alcoholic mother.

As the evening commences and the dishes are served the chef has some diabolical surprises in store for the guests. Secrets are soon revealed as it becomes apparent they have been summoned to the island for a reason.

Mark Mylod, a new director to me, peppers the film with dark, macabre humor, mostly related to the food, which is slyly placed and pairs well. Those who savor fine dining and tasty ingredients will smirk with delight.

The title and ingredients of each course are named and by the third course, the sins of the diners are revealed on tortilla shells for all to see. The audience knows they are not innocent people and the chef and his team are intent on punishing them a la carte style.

The revelation that Margot is not supposed to be there is satisfying because so far the chef, his assistant, and a guest have been eying her mysteriously. Tyler was originally scheduled to bring another woman with him.

Instead of limiting the story this only enhances it. Could Margot be convinced to align with the chef or does she hate him? Jealousy among the staff and guests quickly spirals out of control.

Another win for The Menu is the incorporation of class distinction. The haves and the have-nots and how they feel about each other is an important sidebar and easy to understand the motivations of the characters.

The Menu loses its way during the final thirty minutes with an unsatisfying and perplexing ending that hardly wraps the story up for the audience in a doggy bag.

I was left with more questions than answers regarding the plot.

The analysis can be somewhat forgiven with a deathly serving of s’mores for dessert with the bodies of the guests as the marshmallows and their heads mirroring the chocolate tops.

A laugh-out-loud moment occurs when a spoiled guest does not understand the difference in quality between cod and halibut. Every foodie should be aware of the superiority of halibut.

It’s not all polish and high cuisine as the preparation and consumption of a good old-fashioned greasy cheeseburger are made with such precision that I could nearly smell the wonderful indulgence.

The sizzling meat combined with the heavenly melted American cheese made me want to reach for the phone and order Grubhub.

Fiennes and Taylor-Joy are the standouts as their complex relationship and chemistry are palpable. Special notice must be given to Hung Chau, Judith Light, Janet McTeer, and John Leguizamo who make the ensemble quite good.

With a terrific idea and enough tastes and smells that almost emerge from the screen The Menu (2022) is a winner. It’s unsatisfying at the conclusion but the experience is enjoyable and the creativity is championed.

I felt like a restaurant guest myself.

2020 Films, Anya Taylor-Joy, Bill Nighy, Comedy, Drama, Miranda Hart, Period Drama, Romantic Comedy

Emma-2020

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Emma-2020

Director-Autumn de Wilde

Starring-Anya Taylor-Joy, Johnny Flynn

Scott’s Review #1,128

Reviewed March 31, 2021

Grade: B

I haven’t read the classic Jane Austen novel written in 1815 nor have I seen the 1996 film version starring Gweneth Paltrow. Neither of these is a prerequisite to enjoying the 2020 version of Emma starring Anya Taylor-Joy in the lead role of Emma Woodhouse.

The film, while set in the early nineteenth century, feels incredibly contemporary and seemingly makes little attempt at a classic style save for the hair, makeup, and costumes. These items are splendid, and the high point, and make the film stylish and bright.

Beautiful, smart, and rich, Emma (Taylor-Joy) enjoys her matchmaking skills that sometimes lead to awkward or failed matches and romantic missteps. She claims to not be interested in her romance or potential suitors though that changes with time.

She struggles with the challenges of growing up, though she is pampered and has a habit of involving herself in other’s business. Emma is also mischievous and not always kind though deep down she is a good person and has regret when she hurts someone’s feelings with her antics.

In a good, coming of age way, she finally realizes that love for her and a proper match of her own has been there all along and staring her in the face.

The film begins with Emma’s governess, Miss Taylor (Gemma Whelan), marrying and becoming Mrs. Weston. She and Emma are best friends and Emma is saddened so she settles on Harriet Smith (Mia Goth), a younger girl whom Emma supposes is the unclaimed child of a gentleman; Harriet’s parents are unknown, but her education has been provided for. They become bonded and Emma’s influence is immeasured.

Taylor-Joy does a wonderful job in the title role and carefully makes Emma naughty and sometimes unlikable before carefully reeling her in with an act of kindness. She has no malice in mind but is often bored and looking for excitement. I found myself rooting for her to find romance with Mr. Knightley (Johnny Flynn), which she does but not without a hurdle or two on the way.

Other characters come and go with flirtations and romantic possibilities explored.

Speaking of Flynn, the actor is rumored to play rock icon David Bowie in a future theatrical feature. A real musician, Flynn should be the perfect casting for that important part. He is the only character to show some flesh, his bare bum, in Emma and one wonders if female director Autumn de Wilde did this purposefully. After all, traditionally in cinema, it’s been the female who is more commonly nude. Turnabout is fair play.

While Taylor-Joy is good she is nearly upstaged by the delightful Goth who is fabulous as the insecure and impressionable Harriet. With humor and innocence, she makes her character quite likable. I’d like to see more from this young actress. Bill Nighy is perfectly cast as the comical father of Emma while Miranda Hart as Miss Bates steamrolls over every scene she is in.

Some inconsistencies exist especially where Miss Bates is concerned. A quick mention that Miss Bates and her family had once been rich and are now struggling is not explored where it reportedly was in the novel.

Dividing the film into seasonal sections (Autumn, Winter, Spring, and Summer) is a good decision and makes it more like a novel. The winter snow and Christmas festivities along with a summer picnic do wonders to add fresh atmospheric tidbits. The many scenes of delicious spreads of food and drink laid out for hungry eyes to see offer a robust and colorful glimpse of the culture.

The vibrancy, the food, and the aforementioned clothing, all brimming with richness based on the seasons are the main draw. The castles and large houses featured surely small-town English style brim with vastness and atmosphere.

Emma (2020) is a fun film and the story is not the best part of it. Predictably, all characters wind up with romantically who they should wind up with and there is a happily ever after sensibility.

Adolescents can easily sit in comfort with their mother and father and enjoy the lightweight affair. Nobody will be offended and all will be satisfied. It’s a solid romantic period piece.

Oscar Nominations: Best Costume Design, Best Makeup & Hairstyling

2018 Films, Alex Wolff, Anya Taylor-Joy, Comedy, Dark Comedy, Independent, Independent Comedy

Thoroughbreds-2018

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Thoroughbreds-2018

Director-Cory Finley

Starring-Olivia Cooke, Anya Taylor-Joy

Scott’s Review #880

Reviewed March 26, 2019

Grade: B

Thoroughbreds (2018) is an independent dark comedy with snippets of creative filmmaking and an intriguing premise that loses steam towards the conclusion, closely mirroring too many other similarly themed indies.

An enjoyable geographical setting but the lackluster monotone dialogue never allows the film a mind of its own and is therefore deemed unmemorable.

The lead actors are fine, but the experience lacks too much to raise the bar into its territory suffering from an odd title that has little to do with the story.

Lily (Anya Taylor-Joy) and Amanda (Olivia Cooke) are former childhood friends whose differing popularity levels have severed their relationship over the years. When Amanda’s mother pays Lily to socialize with Amanda under the guise of tutoring her, Amanda catches wind of the plot and confronts Lily.

This event brings the girls closer and in the macabre fashion, they begin to hatch a scheme to plan the death of Lily’s stepfather, wealthy Mark (Paul Sparks) whom she perceives as abusive. It is revealed via flashback that Amanda euthanized her crippled horse to spare his suffering which resulted in animal cruelty charges.

The setting of affluent Fairfield County, Connecticut, presumably wealthy and snobbish Greenwich is a high point of the film and an immediate comparison to the 1997 masterpiece The Ice Storm.

Bored rich kids who perceive themselves to shoulder all the world’s problems, while subsequently attending the best boarding school imaginable is delicious and a perfect starting point for drama and intrigue.

Lily’s domineering stepfather and her passive and enabling mother are clever additions without making them seem like caricatures.

The dynamic between the girl characters is intelligently written and believable especially as they crack witty dialogue between each other. Lily is academic and stoic, humorously said to suffer from an unnamed condition that results in her being unable to feel or show any emotion.

Amanda is the perfect counterbalance as she is sarcastic, witty and serves up one analytical observation after another.

From a physical perspective, the statuesque Lily is believable as the more popular of the two and the perceived leader.

As the girls elicit the participation of local drug dealer Tim (Anton Yelchin) into their plans, at first voluntary and ultimately by blackmail, the plot takes a turn for the formulaic and the redundant.

The setup seems too like a standard dramatic story arc and becomes cliched as the once willing participant is subsequently thrust into the scheme. There are no romantic entanglements between the three main characters and subsequently leaving no characters to root for either, one strike to the film.

Otherwise, the “been there, done that” monotone dialogue has become standard in dark comedies so that in 2018 the element seems dated and a ploy to develop offbeat characters.

Director Cory Finley borrows heavily from fellow director Wes Anderson (The Royal Tenenbaums-2001 and the Moonrise Kingdom) in this regard so that the freshness of the characters and story wears thin mid-stream.

The title of the film could be better as a quick scene involving Amanda and a horse in the beginning and a brief mention of horses envisioned in a dream by one character is all there is about the animals.

I expected more of incorporation between animal and human or at least a more poignant connection.  The privileged lives of Lily and Amanda seem the perfect correlation to bring horses into the central story in a robust way.

Finley is on the cinematic map, crafting an effort that proves he possesses some talent and an eye for a wicked and solid offering.

Thoroughbreds (2018) represents a film too like many others in the same genre to rise to the top of the pack but is not without merits and sound vision. It will be interesting to see what this up-and-coming director chooses for his next project.

Independent Spirit Award Nominations: Best First Screenplay

2016 Films, Anya Taylor-Joy, Betty Buckley, Bruce Willis, James McAvoy, M. Night Shyamalan, Thriller

Split-2016

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Split-2016

Director M. Night Shyamalan

Starring James McAvoy, Anya Taylor Joy

Scott’s Review #821

Reviewed October 18, 2018

Grade: B-

Split (2016) is the second part of a planned trilogy, the first is Unbreakable (2000), and the third is to debut in 2019.

This point confused me since I did not notice any correlation between the films until the final scene. Even that was not very clear.

Split has its ups and downs, mainly because James McAvoy’s performance is spectacular and the highlight, but the film is sadly riddled with many plot holes and some nonsense.

I do not predict the film will be remembered all too well.

Casey (Joy) is a withdrawn teenage girl with an abusive past at the hands of her uncle, who raised her after her father died. She, along with two other girls is accosted by a man (McAvoy) who chloroforms them and takes them to a hidden basement.

The girls quickly learn that their abductor is Kevin Wendell Crumb, a man suffering from Dissociative Identity Disorder (DID).

His personalities range from a nine-year-old child to an effeminate artist, to a well-dressed woman, and Kevin.

The audience (but not the girls) learns that Kevin is in therapy and the care of Doctor Karen Fletcher (Betty Buckley) an established Philadelphia psychiatrist. Fletcher is aware of Kevin’s other personalities and an additional personality deemed “The Beast”.

She assumes this is a fantasy superhero figure.

Karen slowly pieces together the frightening depth of Kevin’s disorder and must race against time to save the girls.

McAvoy, mostly known for his great performances in The Last King of Scotland (2006) and Atonement (2007), also a central figure in the X-Men film franchise (2011-2019), knocks it out of the park.

What a challenging role (or roles!) for the handsome, Scottish actor.  He is convincing as the stoic and confident Kevin and provides the perfect swagger as “Patricia” and “Dennis”. Finally, he plays nine-year-old “Hedwig” with childhood innocence and insecurities.

The casting of McAvoy is a treat and a success.

How lovely to see film and television stalwart Betty Buckley back in the game with a central film role. To say nothing of the actress’s achievements on stage in play after play, the woman is a legend in other genres.

Eagle-eyed horror fans will undoubtedly remember Buckley’s role as the sympathetic gym teacher in Carrie (1976). In Split, she portrays another benevolent character as she is concerned for her patient’s well-being, not realizing the sinister sides he keeps hidden. The role is perfect for the warm Buckley.

Written, co-produced, and directed by the acclaimed M. Night Shyamalan, Split is no masterpiece like The Sixth Sense (1999) or even on par with The Village (2004).  Instead, the result is a peculiar and uneven effort- the fascination is with McAvoy’s twenty-three different personalities, granted we only see four or five of them.

The film misses the numerous backstory scenes of Casey and her uncle, hunting in the woods. These scenes slow down the action and seem overly lengthy. She was abused and can now handle herself- we get it.

This point could have been achieved within one scene.

The relationship between the three girls is okay, but the story point of Casey being an outcast and different from the other two girls seems unnecessary and thrown in.

The final scene of Bruce Willis (as Dennis Dunn from Unbreakable) is somewhat of a nice nod to the previous film but lost on anyone who either has not seen it or has not seen it since it premiered well over a decade ago.

More of a connection between the two stories should have been featured.

In addition to McAvoy’s impressive performance, a positive is there are no male characters designed to “save the day” as is still typical with mainstream films.

The heroes of the film are Casey (a teenage girl) and Karen (a woman in her sixties). Credit must be given to attempts at making Split a more progressive-minded film, despite all the story pieces not aligning.

The result of the film is fair to middling- Split (2016) is not a great effort, but a decent watch. The highlights are McAvoy, a worthy role for veteran Buckley, and some good tension and moments of good peril. The story is not the high point and Shyamalan has made better films.

2016 Films, Anya Taylor-Joy, Horror, Independent, Independent Horror, Ralph Ineson

The Witch-2016

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The Witch-2016

Director-Robert Eggers

Starring-Anya Taylor Joy, Ralph Ineson

Scott’s Review #446

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Reviewed July 7, 2016

Grade: B+

The Witch is a slow-build 2016 horror film that plods with sinister wickedness and left this viewer thinking well beyond the credits.

Is it a message movie?

Good versus evil and containing a definite religious umbrella encompassing the entire film, it is god against the devil, and guess which one wins out? To be transparent, this film will undoubtedly offend the staunch religious.

Set in 1600’s New England and entitled- “The Witch- A New England Folktale”, we meet a Puritan family banished from the village they inhabit.

They are forced to begin a life on their own and build a farm struggling to survive by selling family heirlooms in secret. William and Katherine are the parents, followed by a teenage daughter, Thomasin, son Caleb, and youngsters, Mercy and Jonas.

Their recent addition to the family, Samuel, is snatched by a mysterious creature appearing in the shape of a witch. We only see her draped in red as she sneaks into the woods holding the infant.

From the families perspective, they know not who (or what) has taken Samuel) and they tell themselves that it was a wolf, but soon they are not so convinced and Thomasin is assumed to be a witch.

I adore how this film is not set in modern times, undoubtedly a turn-off for some viewers. The thick English dialect is almost Shakespearean at times and challenging to follow at others, but rich in the culture at the same time.

The period is unsettling for some reason as is the absolute purity of the family- too good to be true? Much of the film is shot in the daytime- unlike many horror films- and this adds to the tension- combined with the creepy musical score- strings are used.

At one hour and thirty-two minutes, the very short film feels longer- it truly does move at a snail’s pace, but the final act makes up for this as something all along told me it would. It simply has a creepy feel to it and nightmarish events occur at the finale of the film.

Some of The Witch is open to interpretation. At times I suspected one family member or another of perhaps being evil, but the film is not that straightforward and some complexities arise.

For instance, do spirits possess animals? When Thomasin milks a goat and blood runs out is this supposed to represent female menstruation?

A thinking man’s horror film, which is refreshing within the horror genre or any other genre for that matter, The Witch is unorthodox and thought-provoking, which makes it a winner in my book.

Independent Spirit Award Nominations: Best First Screenplay (won), Best First Feature (won)