MUTTPLEX MOVIE REVIEWS

Unfortunately, Westley Piddle doesn’t have a cinema, cineplex, or multiplex…only a Muttplex. But it’s showing some great movies…

🐾🐾🐾🐾= as good as it gets on the subject.  Drop everything, , sniff out, scramble to catch up and ‘watch NOWS’!

🐾🐾🐾= entertaining or informative.  Worth putting on your short-watch list.

🐾🐾= Average entertainment, will pass casual viewing time but does not exceed expectations – even modest ones. Ultimately forgettable.

🐾= Seriously! There are many far better movies out there on this subject. Don’t bother unless it’s a rainy afternoon with absolutely nothing better to do.

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This week at the Muttplex three films wotz got all thems muttwits jumping up and down on four paws.  Wotz more, modern cinema is finally coming thru for women directors who have helmed two of these 4xP choices.  Maybe, just maybe, there is a light of hope at the end of the long dark male tunnel for the future of film with diverse talent boldly wresting control the other side of the lens.

Nomadland (2021) – directed by Chloe Zmao

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Nomadland: Following the economic collapse of a company town in rural Nevada, Fern (Frances McDormand) packs her van and sets off on the road exploring a life outside of conventional society as a modern-day nomad. The third feature film from director Chloé Zhao, NOMADLAND features real nomads Linda May, Swankie and Bob Wells as Fern’s mentors and comrades in her exploration through the vast landscape of the American West. (courtesy IMDb)

My take: As minimalist, stylish and refreshing as Scandinavian bleached oak, Nomadland is a film that anyone with a sense of taste and imagination can step into and feel immediately at home.  It is simply faultless. Whether it be script, photography of the stark beauty of American Nowheresville, or the the actors – mostly portrayed by real modern-day nomads – the viewer is privileged to enjoy the sweetest [and probably] the most passionate film of 2021 by a long shot. Francis McDormand was born to invite us into her RV and steer us through this masterpiece..

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Saint Maud (2019) – directed by Rose Glass

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Saint Maud: There, but for the grace of God, goes Maud, a reclusive young nurse whose impressionable demeanor causes her to pursue a pious path of Christian devotion after an obscure trauma. Now charged with the hospice care of Amanda, a retired dancer ravaged by cancer, Maud’s fervent faith quickly inspires an obsessive conviction that she must save her ward’s soul from eternal damnation – whatever the cost.  (courtesy IMDb)

My take:  I am not much into shock horror films –  but I dig the kind of macabre story that leaves unsettling vapour trails long after the credits.  Saint Maud is a stripped-down, bare bones and pitiful voyage into the darkness of a lonely young woman who has discovered the voice of god – and taken control of the conversation.  Both simple and supper creepy – with a couple of genuine jump scares  – this is the best British psychological horror film I have seen 28 Days Later.

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The White Tiger (2021) –  directed by Ramin Bahrani (Netflix)

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The White Tiger: Balram Halwai (Adarsh Gourav) narrates his epic and darkly humorous rise from poor villager to successful entrepreneur in modern India. Cunning and ambitious, the traditional Indian caste society has trained Balram to be one thing – a servant – so he makes himself indispensable to his rich masters. But after a night of betrayal, he realizes the corrupt lengths they will go to trap him and save themselves. On the verge of losing everything, Balram rebels against a rigged and unequal system to rise up and become a new kind of master. (courtesy IMDb)

My take: Before adding this title to the Muttplex movie reviews I checked with an old friend of mine who owns an Indian film production house to check on its authenticity. His response:  The White Tiger puts Slumdog Millionaire on the same level as a London curry house that offers the real taste of India to white people.  Enuff said!  A wonderful tale full of cruel humor, bombastic wit, and the revolting caste system; and, wot jolts the viewer with a very dark turn halfway thru the film.  Plus, it’s all on Netflix folks.  Yu’d be a daft muttwit to miss this, innit?