The March Film (& TV show) Review Round-Up
Welcome to March’s film and TV review round-up! February’s review round-up was such a success that we decided to keep the ball rolling. With reviews from writers across the globe, we’ll be bringing you their thoughts and opinions on some of the newest releases.
Let’s get stuck in…
Starstruck Series 2 (BBC iPlayer, February 2022)
Words by Hannah Coom
“It’s just so romantic you stayed for Tom! You quit your job, moved out of your flat..”
If you’ve ever wondered what happens after the grand romantic crescendo that follows a will-they-won’t they love story between a fancy famous actor and a self-described ‘little rat nobody’, Starstruck series two is a must watch.
Series one, watched almost five million times on BBC iPlayer, follows Jessie after an unexpectedly complicated one night stand with a famous actor on New Year's Eve. The unlikely couple, Jessie played by Rose Matafeo and Tom played by Nikesh Patel, struggle with miscommunication and stark lifestyle differences but the undeniable chemistry between the two keeps pulling them back together. Season two picks up where the joyful cliff-hanger of season one left off - Jessie decides not to move back to New Zealand instead choosing to stay in London to be with Tom, exploring the real-world response to this classic and somewhat unrealistic rom-com decision.
Season one left us with the pair passionately kissing at the back of the bus as Jessie purposefully misses her bus stop to go to the airport. Season two picks up with the pair standing awkwardly by the side of the road before realising that Jessie has left all of her possessions on the bus that has just pulled away. The stark tonal shift is at the centre of Starstruck’s brilliance - it brings a relatable level of realism to those big moments, injecting misdirection and comedy at every turn. Each of the six episodes follows Jessie trying to work out how this relationship is physically going to work. Predictably, it is not plain sailing.
Much like series one, new episodes explore Jessie and Tom’s characteristic push-pull dynamic as they grapple with family, exes and money. What is clear throughout is that these two people are compatible and obviously care about each other, even when they are trying to play it cool. Bursting open the intimate bubble of their relationship invites new opinions, anxieties and struggles for the couple.
Starstruck series two proves that the aftermath of the big romantic gesture can be just as awkward and wonderful as the lead up. It is, in and of itself, a love letter to the rom-com genre and reinvigorates a lot of its classic tropes - subverting often gendered roles and characteristics making it impossible not to root for Jessie and Tom. Jessie is eternally dramatic, impulsive and struggles with vulnerability. Watching her fumble through her feelings for Tom and wanting to be with him but not really knowing how is equal parts clunky and heart-warming. This binge worthy female led rom-com promises to become a staple comfort rewatch.
Windfall (Netflix, March 2022)
Words by Nathan Hardie
The term "bottle episode" derives from television where one entry of the series is entirely self-contained, meaning only a singular location and main characters are used. Typically, "bottle episodes" occur due to a lack of budget, but this dynamic presents interesting ways of telling stories differently. For example, it can express a character’s handling of themselves in tense close-quarters scenarios, as well as showcasing their development since the beginning of the series. This technique has been translated on the big screen to great effect as well. Whilst the term was coined in the 60s, the most famous example of a "bottle film" predates it, 1957's classic 12 Angry Men showing how much drama can be extrapolated from a dozen guys debating in a sweaty room. Since then, there has been ample success with the format such as Reservoir Dogs and Saw, but it is quite a tricky concept to pull off as the newly released Windfall has found out.
Directed by Charlie McDowell, son of actors Malcom McDowell and Mary Steenburgen, the latest Netflix original Windfall stars Jesse Plemons, Lily James and Jason Segel. Normally, I would associate them by their character's name but a part of Windfall’s charm is that they don’t have any. We’re introduced to Segel casually strolling around a gorgeous orchard and pilfering through belongings in the modern house that looks over it, until couple Plemons and James make a surprise visit to catch him in the act. What follows is a drawn out hostage situation in which you’re unsure the direction it will go or what secrets will be unearthed.
Clocking in at an hour thirty two, the phrase ‘drawn out’ shouldn’t be anywhere near this production. However, its slow burn conversation-led story becomes meandering, unfairly categorised as a thriller. Any discoveries set up to be shocking twists are discussed in a nonplussed fashion, undermining any pay-offs. This is accompanied by a classical music piece which becomes too distracting in these moments, even pitched over the top of dialogue occasionally. Plemons is always fantastic when playing his signature role of "I'm not sure whether to hate you or root for you", and is still at the top of his game here. Segel works well as the inexperienced kidnapper, who’s frank and honest disdain for the couple balances nicely with his increased desperation to escape. Collins’ performance is very muted, acting as a mediator between the two bulls locking horns. However, everything regarding their characters is kept at surface level due to anonymity, meaning I was left wanting more but in a disappointing manner.
Where the nuance does work are the themes discussed in the picture. With such a luxurious filming set in Ojai, California, wealth disparity and capitalism are the main topics. How much a new life is worth, how workers are exploited directly and indirectly regarding the 1%, how untouchable they are etc. frequently gets brought up. Yet it never goes over the top to turn into an economics lecture, all three characters offer up their stances as they kill time. Windfall's biggest strength is the style. Everything from the font to the haunting music harkens back to the golden age of Hollywood. Each shot is perfectly set up, with placement reminiscent of Wes Anderson, and lingers on impeccable scenery. The orange trees really do a lot of the heavy lifting. A power triangle that bounces off each other akin to Double Indemnity, but the crucial difference is the lack of story. Prioritising style over substance, the intrigue eventually wore off. Windfall tries something new by keeping its cards close to its chest, but it fails to ever go all in and give the big payday I was hoping for.