Classics: A Review of Ed Wood By Lauren Ennis

'Who is the best director of all time' is a question that cinephiles like to ask but can rarely answer. If you ask movie buffs who the worst director of all time is, however, chances are that you'll receive a quick and wholehearted reply; Edward D Wood Jr. Between 1947 and 1960 Wood directed a series of low budget sci-fi and horror films that critics and audiences agree were truly monstrous for all of the wrong reasons. While Wood's story seems the stuff of tinseltown tragedy Tim Burton's 1994 biopic tells the director's story in a way that is a testament to the creative spirit, if not to creative talent. Released at the height of movie maverick Burton's career, Ed Wood is every bit as outrageous, offbeat, and oddly inspiring as its subject matter.

Dude looks like a lady!

The story begins in 1952 Los Angeles as Wood's latest theatrical effort, a heavy handed World War I allegory, makes its stage debut. When critics pan the production Wood sets his sights on the silver screen. Inspired by the real life story of trans-woman Christine Jorgensen's sexual reassignment surgery, he pens one of his most notorious films, the much maligned Glen or Glenda. As if the film's subject matter weren't sensitive enough, Wood pushes the censors even further by filling the script with references to his personal life, including his penchant for secretly cross-dressing in his girlfriend's clothes. Despite his girlfriend's understandable protests, the project moves forward, only to prove itself to be another flop. Despite the film's failure he continues on unswayed and doggedly pursues his dreams in a series of misadventures which remain the stuff of Hollywood legend.

Equal parts prestige biopic and offbeat indie flick Ed Wood is Burton's ode to the magic of the movies and the people who make them. Although Wood's dreams of critical and commercial success eluded him the film presents his story not as one of thwarted hopes and broken dreams but instead as a tale of passion, persistence, and the importance of staying true to yourself. In this way the film transforms the infamously eccentric director into an every-man whom anyone who has ever felt out of place can see themselves in. Even as he encounters one setback after another the film portrays Wood as possessing an unwavering optimism that is nothing short of infectious, allowing him to emerge as the film's unlikely hero. The film's commemoration of his tireless, if unsuccessful, efforts serves as a reminder of the inspiring power of cinema while paying apt homage to those who make it all possible. Through its tribute to Wood and his rag-tag cast and crew the film also delivers a powerful, if familiar, message that 'visions are worth fighting for' because 'there's no point in making someone else's dreams'. Hailed by critics but largely ignored by audiences upon its release, Ed Wood has gone on to become a cult classic that is widely considered to be Burton's crowning achievement. Through its celebration of the creative process rather than creative achievements Ed Wood breaks the tired mold of the standard biopic to relate a heartfelt, humorous, and relateable tale that revived Wood's legacy while inspiring a new generation of film goers.

The wonderfully wacky world of Edward D Wood Jr is brilliantly brought to the screen by the talented cast. Saraj Jessica Parker perfectly captures the frustrations of wood's long suffering girlfriend, Dolores. Bill Murray turns on his signature dry charm as Wood's transgender friend and collaborator, Bunny. Patricia Arquette is a delight as Wood's understanding girlfriend turned supportive wife, Kathy. Lisa Marie and Jeffrey Jones uncannily portray 50's television personalities Vampira and The Amazing Criswell. Martin Landau nearly steals the film in his turn as tormented horror icon turned struggling addict Bela Lugosi. Even in the midst of these superb supporting performances, however, the film belongs to Johnny Depp, who lends one of his most endearing and engaging performances yet as cock-eyed idealist Wood.

Much like a modern day Don Quixote Edward D Wood Jr. devoted his life to what would prove to be an impossible dream. While his efforts earned him derision and poverty in life, the film that he inspired has earned him his place in cinematic history not as a successful director, but as a man who succeeded in pursuing his dreams regardless of the outcome. Through its sympathetic script and superb performances Ed Wood serves as both a personal homage to Wood and the filmmakers of his generation and to anyone who's ever chased their wildest dreams.

Classics: A Review of Spies By Lauren Ennis

Secrets, sabotage, subterfuge, and seduction are all in a  day's work for Soviet agents Zoya and Arina in 2013's miniseries Spies. This Russian drama trades in the glamour and cliches of Western spy thrillers for a gripping exploration of war-time intelligence work. At once a compelling character study and an explosive thriller the miniseries lends viewers apt insight into both its unlikely heroines and the shadowy world in which they must work. Easily one of television's most credible forays into espionage Spies relates a complex tale worthy of the real-life agents who inspired it.

Odds are they won't live to see tomorrow

The story begins in the Soviet Union on the eve of World War II. Struggling single mother Zoya becomes a grifter in order to provide for herself and her young daughter. Meanwhile, idealistic and affluent Arina searches for a way to contribute to the Soviet cause. After a chance encounter the two women's lives converge when Zoya participates in a robbery that results in the murder of Arina's mother. The ensuing investigation leads to Zoya's arrest as well as the revelation of Arina's family's connections to a refugee organization smuggling dissidents out of the USSR. Arina's ensuing arrest leads to her crossing paths with Zoya once again when both women are presented with an offer by the state; join the nation's budding intelligence organization or face a sentence in one of the Soviet Union's notorious work camps. The two enemies forge an uneasy alliance as they enter the treacherous world of international intelligence where the only people that they can trust is themselves and just maybe each other.

Over the course of its ten episodes Spies delves far deeper than the average spy thriller and creates a compelling portrait of people at war; with enemy nations, with each other, and with themselves. The nuanced script avoids falling into the trap of genre cliche by portraying each character with subtlety and humanity. In this way, the series ensures that viewers will continue to root for its leading ladies, even as they evolve into reluctant anti-heroines. Similarly the script is careful to avoid "good guy" and "bad guy" stereotypes by highlighting the fact that the spies are working for a regime that is in many ways as inhumane as the one they are fighting against. One of the drama's most resonating aspects is its portrayal of the personal price that each spy must pay as they compromise their personal relationships and values in their attempts to compromise their targets. The emotional toll upon the spies is particularly present in Arina's story line as she grows from an idealistic and naive student to a hardened and traumatized woman. Through its compelling exploration of war-time intelligence and the unsung men and women who conducted it Spies weaves a complex tale of political intrigue and personal sacrifice that is guaranteed to leave viewers wishing that the series had  a Cold War sequel.

Are you sure that's your final answer?

The secretive world of Soviet intelligence comes alive thanks to the expert work of the talented cast. Vladimir Vdovichenko lends a nuanced turn as the women's world weary instructor, Commandant Vorotynnikov. Anatoliy Rudenko conveys boy next door charm as Arina's sheltered husband, Volodya. Evgeniy Pronin makes for a charismatic leading man as the women's commanding officer, Nikolia Petrov. Even in the midst of numerous engrossing performances, the miniseries belongs to Svetlana Ivanova and Svetlana Ustinova as Arina and Zoya. Ivanova expertly conveys a full range of emotions with raw energy and convincing nuance as she charts Arina's journey from idealistic student to disillusioned agent. Similarly, Ustinova portrays Zoya's transformation from self-interested criminal to self-sacrificing spy.

Hidden identities, shifting alliances, secret weapons, and daring escapes; Spies contains all of these familiar elements, but also so much more. More than just another spy story Spies is a mature portrait of the world of espionage and the conflicted individuals who inhabit it. Through its intelligent and emotionally honest script and its brilliant performances the miniseries expertly weaves a web of secret motives, conflicted allegiances, and thrilling action the likes of which television has rarely seen. For binge-worthy viewing join Zoya and Arina as they become the Soviet Union's most watchable Spies.

Homework has never been this much fun

Classics: A Review of Ordeal By Innocence By Lauren Ennis

Historically, an ordeal was a physical or mental test which accused persons were forced to endure in order to prove their innocence. These primitive tests included no evidence, and were often fatal regardless of the person’s innocence or guilt. In Agatha Christie’s Ordeal by Innocence the methods may be modern but the ordeal is never less than deadly for the dysfunctional Argyll family. Easily one of the darkest adaptations of Christie’s work, this 2018 miniseries explores the aftermath of a crime and the ways in which the past becomes an ordeal in of itself for both guilty and innocent alike.

There's no place like home for the holidays

The story begins with the brutal killing of famed philanthropist and heiress Rachel Argyll (Anna Chancellor) on Christmas Eve, 1954. The gruesome crime leaves Rachel’s family shattered beyond repair when her adopted son, Jack (Anthony Boyle), is arrested for the murder and later dies in prison before the case reaches trial. The series then flashes ahead a year and a half later as Rachel’s widower, Leo (Bill Nighy), prepares to marry his sultry former secretary. As Rachel and Leo’s four surviving children return home old wounds are laid bare while family secrets threaten to unfurl. In the midst of this already fraught atmosphere a dubious stranger arrives at the estate claiming to be Jack’s alibi for the night of Rachel’s murder. As the revelation of Jack’s innocence comes to light another, more sinister realization descends upon the family; if Jack didn’t kill Rachel, then the killer is still alive and lurking amongst them.

The miniseries combines the best in classic Christie with the elements of a modern psychological thriller to create a viewing experience that is truly to die for. Rather than focusing upon the crime itself and the immediate aftermath the series instead breaks with the traditional murder mystery format by exploring both the events leading up to the murder and the its resonating impact. In this way the series shifts its focus from ‘whodunnit’ to why was it done. Through this twist in its structure the series is afforded a much more modern and complex approach as it delves into the minds of its long list of suspects and explores the events that shaped each of them. As the script reached deeper into the characters’ damaged pasts the series evolved into a gritty psychological thriller that poses as many pointed questions about trauma, violence, social class, and justice as it answers’ about its central murder. While the story is a period piece in the beloved British tradition, its strikingly modern themes of mental health, corruption, and sexual violence lend the proceedings both a sense of urgency and emotional weight. Although viewers have been left divided over the ways in which the script diverges from Christie’s original novel, this reviewer found that the series pays apt homage to the spirit of the original novel while still offering surprises for today’s viewers. Through its combination of classic mystery and modern psychological thriller Ordeal by Innocence is guaranteed to offer twists to satisfy Christie devotees and modern cinephiles alike.

Mommy Dearest

Christie’s tale of murder and malic is brilliantly realized thanks in large part to the work of the talented cast. Anna Chancellor is fascinating as the enigmatic Rachel and perfectly captures the cold charisma that draws others to her against their judgment. Bill Nighy turns in an understated but compelling performance as family patriarch, Leo. Crystal Clarke and Christian Cooke invoke sympathy as tortured siblings Tina and Mickey who share more than their mutual longing to escape their toxic family. Eleanor Tomlinson and Matthew Goode are compulsively watchable in their portrayal of the twisted codependent relationship between haughty eldest sister Mary and her disabled addict husband. Ella Purnell exhibits a childlike charm as wounded wild child Hester. Anthony Boyle is nothing short of magnetic in his turn as black sheep Jack. Luke Treadaway and Morven Christie lend the film its emotional core as Jack’s tormented alibi, Dr. Calgary, and the haunted housekeeper, Kirsten.

Ordeal by Innocence is a mystery that will continue to raise questions long after its shocking conclusion. Through its thought provoking script, engaging performances, and intriguing atmosphere the series is guaranteed to keep viewers guessing until its final reveal. A masterpiece of a mystery that shatters the PBS mod, Ordeal by Innocence is must watch television for the modern mystery buff. After starting this series audiences’ greatest ordeal will be tearing themselves away.

Murder by numbers