The current cinematic landscape seems overpopulated with complex narratives desperately trying to pack as much plot and pace into their runtimes as humanly possible. So it is truly refreshing whenever a new release refrains from overstuffing, overcomplicating and overwhelming its audience. James Schroeder’s Nicole is a slick comedy horror which simply styles itself as ‘the story of a first date gone wrong’. From this small promising premise grows a horror which will get under your skin.
Nicole follows the daily routine of the eponymous lead who seems incredibly aloof and isolated from the world around her. She’s an unabashed alcoholic whom we begin to sense is coping for past traumas she has suffered. Between glugs of liquor, Nicole inspects a knife she sheaves giving us a tantalising glimpse of the direction her day may take. Tamika Shannon initially plays Nicole with tactical reserve and only gradually reveals her true motivations. Shannon plays the awkward encounters between herself and her colleagues with an authentic unease which only heightens the tension throughout the film.
Director James Schroeder employs a striking visual motif to jolt the narrative from reality to daydreams by shifting between monotone and colour. What at first seems purely stylistic comes to add significant ambiguity as the plot progresses. What Schroeder communicates without uttering a word, but by merely altering the colour, invites the audience to engage in the narrative and draw their own conclusions. Any films however big or small which respects its audience and doesn’t spoon-feed them is yet again refreshing.
The choice to situate this horror around at first date proves fruitful. Nicole is meeting John for the first time – a man who swiftly shows himself to be manipulative, sinister and downright criminal. He plays into the archetypal misogynistic predator which we have come to recognise more and loathe. This creates a real palpable threat for Nicole only heightening the stakes. The imbalance struck between Nicole and John on their date serves as a tantalising precursor to the inevitable descent.
Much like Promising Young Woman, Nicole explores the fear inherent in a misogynistic society for women. Comparisons between the two films are inevitable, but thankfully they are divergent in the avenues they choose to explore. Schroeder deserves praise for a delicate balancing act of tone within Nicole as he introduces elements of comedy and horror throughout this social commentary. Once the horror-comedy elements take hold, we aren’t abruptly taken there as the temperature has been gradually rising throughout the film. Some may find this blends of tones and genres jarring but most will recognise the subtle game being played.
Nicole makes for memorable viewing despite its brief 75 minute runtime by delving deeply into the small and simple story it chooses to tell. Smooth tonal shifts and clear intuitive aesthetics allow Nicole to shift between genres, styles and situations with ease. It is an effective comedic social satire whilst crucially succeeding in evoking genuine terror which may make you wince and squirm in your seat. James Schroeder tells a simple story successfully which is what Independent cinema does best.
Richard Marquand: Master of Cross-Cutting Storytelling. By Andrew Adams.
Going to the cinema has been a treasured pastime since the first movie houses opened in the early 1900s. Through the expert storytelling of those behind and in front of the camera, we enjoy a shared human experience. While well-cast actors and a well-written screenplay are needed for success, there is much that happens behind the scenes that allow a movie to stay with us and affect us so deeply.
Tools of the Trade
Montages are some of the most powerful story-telling tools directors employ. Movie montages serve purposes from advancing a storyline or showing a transformation to keeping the audience on the edge of their seat or tugging at their heartstrings.
Some of the most effective montages use a cross-cutting technique. This method is used when the director wants to show multiple scenes happening simultaneously, often to create suspense. Cross-cutting can be used to show a complex dichotomy between two characters or even for something as simple as a phone conversation. Regardless of how this technique is used, it’s often done so well that the audience doesn’t notice the abundance of cuts, all they know is that they can’t wait to see what happens next.
Cross-Cutting Perfection
One of the most expert displays of the cross-cutting technique is in Richard Marquand’s “Star Wars Episode VI: Return of the Jedi.” This 30-minute sequence is the culmination of several complex storylines, each experiencing a thrilling climax.
Thanks to Marquand’s brilliance, there is no shortage of suspense between the hundreds of cuts in this sequence. We watch the exciting ground battle on Endor where our favorite heroes’ band together and narrowly escape death. We’re shown the desperate impatience of Lando Calrissian and Admiral Akbar as they wait for the Second Death Star’s shields to deactivate. We tragically watch as a father duels his son, a true battle between good and evil. Marquand’s ability to keep the audience emotionally focused on three separate, complex scenes at once sets him apart as one of the most skilled filmmakers of his time.
Setting the Bar High
Of course, Richard Marquand was no stranger to creating drama and suspense with his cross-cutting techniques. Thrillers such as “Jagged Edge” and “Eye of the Needle” made a name for Marquand’s talents, but “Star Wars Episode VI: Return of the Jedi” truly paved the way for blockbuster suspense sequences to come. It would go on to become a benchmark for complex action stories to live up to, and still holds up as a paragon of filmmaking today.
The cross-cutting technique is a remarkable feat of movie engineering and Marquand was certainly an innovator. Next time you notice yourself on the edge of your seat, ask yourself if a cross-cutting montage has anything to do with it.
Director Arantxa Echevarría’s Carmen and Lola opens with a stunning scene of Carmen (Rosy Rodriguez) in a very ornate outfit, about to be presented as a wife to another family within Madrid’s Roma community. What gives the scene its power is cinema’s unique ability to blend the visual, auditory, and narrative. We witness Carmen sitting on a bed looking stone-faced and gloomy, decked out in the fanciest of outfits as we hear a chorus of people singing off camera, “que guapa esta la novia” (“The bride, she is so pretty”). The cinematic language is clear—Carmen’s future is orchestrated by her community; but she is not excited about her dictated future.
The community may be overjoyed but Carmen is not. Echevarría continues to drive her thematic point through cinematic language in the subsequent scenes. We see chunks of butchered meat, fruits, vegetables, vendors advertising their produce in singsong announcements to passersby, negotiating prices by the kilo. Carmen works in an open-air market with her parents. Her body is a commodity just like the produce sold at the market, which–based on her looks, her family’s reputation, and her abilities as a future housewife and mother—will fetch a certain price and will solidify family allegiances within her community. But it is in this same market that she meets the daughter of another vendor, Lola (Zaira Morales). And it is there, in the heart of where commodities are exchanged, that Carmen and Lola find secret spots, talk, share a smoke, and take the first steps in their love affair.
Lola’s family clings to her Roma heritage and are very religious. Lola, however, knows she is a lesbian even while surrounded by messages portraying gay or lesbian relations as sinful. Carmen, on the other hand, suffers from an internal dilemma. She knows she is attracted to Lola, but still has retains remnants of a heteronormative ideology that makes her question her relation with Lola. Adding to Carmen’s dilemma is her impending marriage to a man handpicked by her parents.
The building in which Lola and a large number of her fellow Roma live is flanked by a police tower. The tower serves the dual purpose of monitoring the nearby highway and the building. Lola and Carmen feel trapped both by a community that prescribes very rigid gender roles and sexual preferences and a police state that keeps a panopticon-like eye on “dangerous” communities. They long for escape. In what is perhaps the tenderest scene in their love story, Carmen asks Lola how they are going to pull off being together. Lola innocently answers that they are simply going to “love each other.” After they love each other, one is left to wonder—then what?
Carmen and Lola is undeniably a sweet love story. Echevarría is also very good at plunging the viewer into the rituals and customs of the Roma community. It must be said, however, that there is no new narrative wrinkle etched by Echevarría. The film is a rehash of the timeless story of lovers longing for each other in the face of forces—family and community—trying to pull them apart. Some characters are very one-dimensional. Lola’s father spends nearly the whole movie in the typical brutal father mode of anger and aggression. Some of the metaphors for escape—birds, planes, and the sea—are also overused rehashes. Once we witness the scenes that transmit the culture that Carmen and Lola inhabit, once we witness the tenderness in their relationship, we have to ask the question that hangs over Carmen and Lola’s unoriginal narrative—then what?
The 10 Best Blockbuster Movies with Depressing Plots
Watching movies can be a lot of fun. There’s excitement, drama, suspense, and even romance or comedy to see. But some of the most popular blockbuster films feature sad plots with depressing outcomes. Interestingly, though, many modern psychologists actually claim that watching sad movies is good for your health.
Why are sad movies good for mental health?
Hollywood movies paint a picture of a fictional scenario or embellish the details of a realistic one. The viewer then empathizes with the characters in the plot, thereby experiencing the same emotions right alongside them. The same thing happens when you watch happy or uplifting films.
Like living vicariously through the characters, viewers can process their own depressed emotions without having to play out options in real life. On the contrary, films that are too sad may trigger certain mental health conditions. So, find out if you have an underlying issue or to seek the appropriate treatment, visit https://www.mind-diagnostics.org/blog/depression.
What are the 10 best blockbuster movies with depressing plots?
When you need something to cry about, these 10 sad blockbuster movies will give it to you:
#1. The Pursuit of Happyness
Will Smith plays a single father who struggles to make ends meet with his young son in tow. His misadventures include homelessness and several strings of bad luck until his unfathomable work ethic changed his life forever. Best of all, it’s based on a true story.
#2. My Girl
This classic movie never gets old and remains one of the saddest plots of all time. It stars Macauley Culkin and Ana Chlumsky as two precocious best friends on the brink of adulthood, stopped dead in their tracks by an unexpected death. Most of the movie takes place inside a funeral home too.
#3. Stepmom
In this plot, Susan Surandon and Julia Roberts quarrel as their families blend together after a nasty divorce. You see two mothers fight for the love of their children and suffer great heartaches as a result. This one is different, though, because it actually has a happy ending to enjoy.
#4. Marley and Me
You’ll ugly cry when you watch this movie about a lovable family pet named Marley. His unconditional love and hilarious antics teach Jennifer Aniston and Owen Wilson how to express their emotions in healthy ways, but no without plenty of tears and turmoil along the way.
#5. The Notebook
Follow the life of two lovers as they experience the ups and downs of falling in love. Then, bawl your eyes out as you discover that the entire story was just a memory. Watch as Alzheimer’s tries to steal their love and then observe how they die together in bed at the end.
#6. Up
This animated movie was an instant success just because of it’s opening scene. The elderly wife passes away, and the old man gets bitter. But a whimsical, troublesome child brings joy back into his life in the most unexpected ways. You’ll laugh, cringe, and cry all the way to the final scene.
#7. Legends of the Fall
Young Brad Pitt stars in this raw film about a man who’s incredibly unlucky in love and life. The plot twists and turns with loads of heartbreaking surprises, including his wife being killed in his arms over a petty squabble. And in one scene, the star holds his brother’s bloody heart in his hands.
#8. Steel Magnolias
If you don’t cry while watching this movie, you probably weren’t paying attention. It stars Julia Roberts, Dolly Parton, and complete cast of stars who weave an intricate story of love and loss in the deep south. At one point, Julia’s character died unexpectedly after just giving birth to her first baby.
#9. Seven Pounds
As one of the most controversial movies ever done by Will Smith, this one involves a man who gives up various parts of his body to help those in need. However, as the star falls in love and begins sharing his story, you see that there’s a sinister purpose behind his apparent acts of kindness.
#10. A Star Is Born
When Jackson and Ally fall in love, all is well. But after being coaxed into the spotlight, Ally’s career takes off and it breaks down the once passionate relationship they had. Meanwhile, Jackson fights his demons privately and the whole ship comes crashing to a halt in the end.
Truth be told, there are thousands of sad, depressing movies that you could watch. Just be careful not to overindulge because it could have a negative effect on your mental and/or emotional health. So, seek professional help if you start to experience mood swings or bouts of depression that won’t go away (even if you process with the saddest movie on Earth).
The takeaway
Anyone can enjoy a good movie plot, especially if the storyline makes you feel certain emotions or think certain thoughts. But since some movies are so good, it’s important to monitor your mental health before, during, and after the show.
The 10 Best Blockbuster Movies with Depressing Plots
May typically exists as the long-awaited kickoff to the summer movie season. While COVID has caused a slower start than normal, there’s still a slew of intriguing independent releases operating around the periphery. In this month’s new release breakdown, I cover a feel-good crowdpleaser, a fresh spin on the rom-com genre, and a Cannes festival darling. Let’s get it going!
DREAM HORSE – Directed by Euros Lyn
Dream Horse Synopsis: The true story of Dream Alliance, an unlikely racehorse bred by small-town bartender Jan Vokes. With very little money and no experience, Jan (Toni Collette) convinces her neighbors to chip in their meager earnings to help raise Dream and compete with the racing elites. Their investment pays off as Dream rises through the ranks and becomes a beacon of hope for their struggling community.
From the sentimental poster to the marketing’s cheery crowdpleaser energy, Dream Horse proudly wears its earnest pretenses on the heart. Director Euros Lyn and screenwriter Neil McKay certainly have a commendable story on their hands, a semi-true tale that delves into a Welsh community’s reinvigorating bond amidst their town’s blase existence. Under the duo’s tutelage, Dream Horse’s pertinent values are morphed into a series of largely inauthentic frames.
Like many films of this elk, Dream Horse strives for cheerful pleasantness rather than fully-formed dynamics. McKay rushes past a myriad of intriguing subplots (Jan’s waning relationship with her husband, the community’s dire economical straights, and the Dream Alliance complicated business decisions) to present the Hollywood equivalent of comfort food. This familiar spell will achieve enough for some viewers, but the film never engaged me where it counts the most.
Despite solid performances by Toni Collette and Damian Lewis, the characters end up feeling like lifeless amalgams of well-trudged cliches. None of them find much dynamic purpose outside of the story’s whims and desires, hammering in the film’s generally artificial delivery. A story about a rustic community coming together against hardship has a lot of potency and weight. It’s just a shame that Dream Horse‘s tolerable delivery rarely reaches dramatically compelling heights.
DREAM HORSE is now playing in theaters nationwide during May before a VOD run on June 11.
PORT AUTHORITY – Directed by Danielle Lessovitz
Port Authority Synopsis: Paul, a 20-year-old midwesterner, arrives at the central bus station and quickly catches eyes with Wye, a 22-year-old girl voguing on the sidewalk. After Paul seeks her out in secret, an intense love between them blossoms. But when Paul discovers Wye is trans, he is forced to confront his own identity and what it means to belong.
A long-forgotten offshoot of the 2019 Cannes Film Festival, Port Authority is finally finding its way to the masses. Some may dismiss the film for its lengthy duration on the backlogs, but that would be a major disservice to writer/director Danielle Lessovitz’s assured debut. Coming to life with a vibrant sense of community and place, Port Authority develops thoughtful textures from its sleight delivery.
I really hope Lessovitz receives the attention she deserves here. As a breakout debut, her free-flowing camera movements elicit a wandering atmosphere fitting of her lost protagonist. She truly soaks in New York’s varied sensibilities, whether that be the commanding freneticism of club life to low-economic areas propped up through communal power. The visuals define a sense of place further developed by Lessovitz’s thoughtful portrayal of the trans community. Not only is the casting representation on point, but the characters are also imbued with dynamic and well-articulated characterization despite their somewhat limited runtime.
Port Authority’s biggest draw comes from its well-matched leads. Fionn Whitehead and Leyna Bloom are a compelling pair as newfound lovers. Whitehead’s insular work showcases Paul’s intense longing buried under his rigid demeanor. Bloom has genuine star potential, grabbing the audience’s interest through her deft mixture of charisma and vulnerability. Their lively chemistry serves as the igniting force behind Paul’s evolution from rough uber-masculinity to a genuine human being.
While Lessovitz certainly utilizes familiar devices (the third act feels a little too clean for its own good), Port Authority discovers its own purpose from indie formula. I hope audiences are willing to give this film a chance this weekend.
PORT AUTHORITY is available in select theaters May 28th and On Demand and Digital June 1, 2021.
WE BROKE UP – Directed by Jeff Rosenberg
We Broke Up Synopsis: Lori and Doug, a longtime couple breaks up just days before Lori’s little sister Bea’s wedding. In order to not disrupt the fun, the couple decides to pretend they’re still together until the weekend is over.
I am admittedly cheating here as We Broke Up was an end of April release. Still, I am always intrigued by “rom coms” looking to evolve off of the genre’s traditional formula. From the perspective of a couple falling out of love after a decade-long relationship, Jeff Rosenberg’s writing/directorial debut presents moments of raw authenticity.
Stars William Jackson Harper and Aya Cash register a compelling and fittingly distant rapport while still conveying the pairs’ deeply-seated feelings for each other. When the film is at its most intimate, it affectingly examines a delicate personal stage with profound feelings of melancholy and loss (the ending is touching in its own quiet ways). It’s refreshing to see a film treat breakups with honest sincerity, with both parties coming to a common point of love and understanding despite their differences.
Despite moments of brilliance, We Broke Up rarely breaks the romantic comedy mold. Too much of the sporadic 80-minute runtime is spent mucking through bland comedic bits and wacky situations. These moments not only feel borrowed from far superior films, but they shift the focus away from the appeal of the star’s central rapport. The leads take a backseat far too often to the genre’s unoriginal hijinks, preventing the well-meaning narrative from ever reaching its intended heights.
There’s a great movie buried amidst We Broke Up’s far too busy runtime. It’s a shame Rosenberg can’t fully develop his thoughtful concept, but the moments that do work display his potential going forward in the subgenre.
We Broke Up is now available on VOD throughout May.
