April in Film

What Maisie Knew (Source: IMDb)

April was a busy month for me, I re-watched a lot of films, some for comfort, some for studies. The latter took away much of my movie-watching for April.

1st April- Bottoms (Emma Seligman, 2023)

I didn't like this as much as I thought I would. Rachel Sennott and Ayo Edebiri worked terrifically as a dynamic comedy duo, but honestly, I found it quite perverted. If this film wasn't about lesbians trying to score and it was about pubescent boys it wouldn't be far from American Pie. Maybe I'm missing the point, but a pair of girls creating a feminist group at school purely to hook up with other girls doesn't feel very progressive at all.

2nd April- Thelma & Louise (Ridley Scott, 1991)

I adore this film. I still can't believe most of my friends haven't seen it. It hurts to watch, knowing that nothing much has changed since 1991, and as I've gotten older I've related to this film more and more. Not to mention the style, the taking back the masculinity, and the platonic love that is so often disregarded.

8th April- Monkey Man (Dev Patel, 2024)

A brilliant directorial debut. Monkey Man is so unique in choreography and soundtrack which work together with editing to create such satisfying action sequences. But perhaps most poignant is its setting, a Mumbai-styled fictional city called Yatana, which explores classism and drug culture in India that I wouldn't have otherwise been exposed to.

11th April- Civil War (Alex Garland, 2024)

So many people have said how they were glad this film didn't tell us why the USA was at Civil War, but I still didn't. It wasn't how the trailer sold it to me, which showcased the collapse of American democracy and footage of the different forces. If the film had sold it to me as a film about a war photographer (which it actually was), perhaps I would prefer it. It was actually really insightful to view war through a photographer's lens.

I also found Cailee Spaeny's character mind-numbingly annoying. She wasn't a believable aspiring war photographer twenty-three-year-old. She came across as more of a young adolescent who put her own selfish needs to 'get the perfect shot' above everyone else's. I understand that that is precisely the job, but she put other people's lives in danger by doing stupid things.

Nonetheless, I was never bored while watching this film. Special shoutout to Kirsten Dunst and Jesse Plemons- what an IT couple.

13th April- Back to Black (Sam Taylor-Johnson, 2024)

What a horrid turn of events. Again. And again. Not much to say except if you're wondering about Marisa Abela's performance which was hit with so much criticism, it was actually one of the better elements of the film. I think this one speaks for itself.

14th April- The Big Short (Adam McKay, 2015)

I think I would have given this a fairer chance had I not just finished Succession and watched The Wolf of Wall Street too many times. It was a really great film, nothing bad to say other than I felt like one of the TikTok girls who don't understand why we can't just "print more money"; McKay tried so hard to ironically explain the business and money side to this film. Sometimes it landed, other times "Just A Girl" by No Doubt played on repeat in my head.

19th April- Godzilla x Kong: The New Empire (Adam Wingard, 2024)

As someone who walked into this thinking "What am I doing," I didn't mind this. I have never seen any of the films from this universe, but I didn't hate it... reluctantly. If you like big CGI monsters fighting to the death then it's for you, if you fancy a quick nap in the cinema on a rainy day, it's also for you. It could have definitely skipped all the moments with humans though, which was just painfully cringeworthy.

20th April- Pan's Labyrinth (Guillermo del Toro, 2006)

I rewatched this for my studies and it always gets me. Mercedes' lullaby and the juxtaposed ending are tear wrenching. Del Toro shakes the horror and fantasy elements exquisitely into a gothic fairytale cocktail.

25th April- What Maisie Knew (Scott McGehee, David Siegel, 2012)

Ouch, this film hurt. Maisie's parents are splitting up, it's a painful time for everyone. Especially Maisie, who we watch through her eyes. Experiencing such heartbreak through a child's lens is not for the weak, it will bring back some hidden away trauma for those who might relate to it. A very underrated film.

28th April- Catch Me If You Can (Steven Spielberg, 2002)

A Spielberg film I had yet to see, this was like The Wolf of Wall Street with charisma. It did everything you would expect to see from a Spielberg film but is slightly more tailored to an adult audience in theme. It was one of those films where you couldn't help rooting for the bad guy. If that's your craving, I would definitely check this out.

29th April- Atonement (Joe Wright, 2007)

Another rewatch for class, which is exactly what this film is, class. It is debatably a film from the heritage genre, but goes beyond the Merchant Ivory portrait aesthetic. I love the way the score is anachronistic, given that the film is set just before World War II and during it. Wright conveys such dramatic and sexual tension that would otherwise not be seen in a period drama. A must-watch for those who like 'their drama prestigious and literary’ (Leggott, 2008, p.5-6).

Reference list

Leggott, J. (2008). definitions and approaches. In: Contemporary British Cinema: From Heritage to Horror. London: Wallflower Press, pp.5–14.