FilmFreaks

Tag: Performance

  • Couture Review: Angelina Jolie is great in a film that is not nearly as good as her performance

    The Runway of Realities

    When a major fashion event collides with a very personal crisis, the resulting story can be anything but predictable. Couture plunges us into the dazzling, hyper-exclusive world of Paris Fashion Week, where American filmmaker Maxine Walker (portrayed by Angelina Jolie) finds herself grappling with far more pressing realities than haute couture. Surrounded by models, designers, and fleeting connections, she is forced to confront her own destiny while navigating a complex web of relationships spanning different ages and cultures.

    Maxine’s internal world is dominated by a stark diagnosis: breast cancer. This life-altering news throws Maxine into a profound period of self-discovery, forcing her to weigh medical choices against the emotional distance she has created from her family back home. The film uses this external pressure—the race against illness—as the crucible for an intense internal journey, asking what truly matters when facing mortality.

    The narrative unfolds alongside Maxine’s struggle. We meet a collection of women drawn into this high-stakes environment, each seeking their own footing amidst the glamour and chaos of the runway. There is Ada, a Sudanese model navigating the uncertainties of her background; Angele, a makeup artist wrestling with creative criticism; and Christine, a seamstress taking on immense responsibility for the show’s aesthetic. While these characters represent diverse experiences, the film ultimately anchors its power in Maxine’s raw confrontation with her diagnosis.

    Angelina Jolie delivers an emotionally powerful and deeply authentic performance as Maxine. She embodies the complexity of facing trauma, vulnerability, and fierce determination with remarkable ease. Her portrayal of navigating treatment, personal despair, and connection with her colleagues is nothing short of breathtaking—a performance that feels utterly naked and true.

    Director Alice Winocour masterfully uses this emotional realism to frame the spectacle. Although the film attempts to weave intricate details about the fashion industry and the lives of its supporting figures, it wisely focuses the spotlight on the human cost of these experiences rather than getting lost in the technicalities of haute couture. The film’s pacing is deliberately languid, allowing the weight of Maxine’s situation to settle over the glittering backdrop.

    Couture is an ambitious cinematic endeavor that manages to balance the visceral reality of a health crisis with the high-fashion spectacle of Paris. It asks big questions about identity and control while delivering a performance that demands attention. It may not always deliver every narrative thread in the most cohesive way, but it succeeds spectacularly in capturing a deeply personal and unforgettable human story.

    The Verdict

    Couture opens in theaters on June 26th.

    Credit: JoBlo

  • Supergirl Review: Milly Alcock is good even if the movie isn’t

    In a universe where destiny is forged in the fires of vengeance, a young girl named Eve Ridley finds herself thrust into a desperate battle against cosmic evil. Her quest takes an unexpected turn when she recruits Supergirl to help her seek justice for her family’s tragic demise at the hands of a ruthless space pirate named Krem.

    The stakes are immediate and intense: a race against time to find an antidote after the villain poisons someone close to her. This framework sets up an urgent adventure, but as the narrative unfolds, it grapples with the broader challenges facing modern superhero cinema.

    While the story provides high-octane action, critics note that Supergirl feels like a film existing in the shadow of countless others. It navigates familiar cinematic territory, often leaning heavily on techniques—like speed-ramping and slow motion—that feel dated rather than exciting. The visual style draws heavy inspiration from films like Mad Max: Fury Road, which contributes to an overall feeling of derivative action that lacks a truly fresh signature.

    The villain Krem, though undeniably evil in his actions—trafficking, mistreatment, and violence—is largely presented as a simplified iteration of established cinematic antagonists. This narrative simplicity, coupled with the genre’s reliance on familiar story beats, makes the conflict feel less original than filmmakers hoped for.

    Despite the structural critiques, the film possesses moments that shine brightly. Milly Alcock delivers a compelling performance as Supergirl, portraying a character who carries deep trauma and undergoes genuine emotional evolution throughout the narrative. She successfully embodies an antiheroine, evolving from guardedness to conviction, proving she has the depth needed for the role.

    Further bolstering the film is the supporting cast. Jason Momoa’s limited but energetic appearance as Lobo injects much-needed swagger and dynamism into the action sequences. While the overall package might feel like an assembly-line blockbuster—a product of a franchise focused heavily on adaptation rather than innovation—it succeeds in delivering compelling performances.

    Ultimately, Supergirl is not a cinematic failure, but it remains a reflection of the broader genre’s struggle. It demonstrates that while strong performances can carry an effort, making something truly distinctive in a crowded space requires more than just rearranging familiar action sequences. It stands as a solid, if somewhat generic, launch for a character who deserves a more unique and memorable story.

    Credit: JoBlo