Trapped in a Pod, a Woman Must Find Out Who She Is

Mélanie Laurent in "Oxygen"
Photo Credit: RottenTomatoes.com

Over the years, director Alexandre Aja has built up a filmography of intense and bloody horror films, such as “High Tension,” the “Hills Have Eyes” remake, “Piranha 3D,” and “Crawl.”  While his approach to the horror genre has steered me away from his movies, I was intrigued that he would be directing a science-fiction thriller.  His latest movie, “Oxygen,” is a claustrophobic film that will keep you riveted as its mystery unfolds.

The story follows a young woman (Mélanie Laurent), who wakes up in a medical cryogenic unit.  Without any memory of how she got there, she must search for clues to piece together her past before her oxygen runs out.

Laurent delivers an emotional performance as her character must confront her past, while also dealing with the life-threatening nature of her situation.  We see how much the loneliness and hopelessness get to her, but we also witness the ingenuity that Elizabeth uses as she tries to find a way to survive, with Laurent showcasing both sides of this character to terrific effect that absorbs us in her character’s plight.  Seeing as this movie is all about one character, Laurent proves that she can carry a movie, using her abilities to immerse us in this disquieting, yet powerful journey.

Although the screenplay by Christie LeBlanc has some similarities to Rodrigo Cortés’ 2010 thriller, “Buried,” the sci-fi twist to this one-person survival story helps it overcome the likeness.  The story offers a slow build as we’re offered clues here and there that help us put everything together regarding the main character’s present situation and her past.  The deliberate pace that this movie takes to disclose the details keeps our hearts pumping as we stay connected to Laurent’s character and await what issue or revelation may arrive next.

As a director, Aja ventures into the sci-fi genre with a more-restrained approach than in his horror films, substituting his usual blood and gore with pure tension and atmosphere.  He makes the most out of the film’s single setting, using cinematographer Maxime Alexandre’s camerawork to roam around the pod, allowing us to become familiar with the main character’s confined surroundings.  Despite this being a thriller, Aja uses a couple of well-timed jump scares that heighten the tension without feeling like a cheap trick to scare us.

With its compelling lead performance, poignant story, and abundance of high stakes, “Oxygen” is a movie that will have you holding your breath.

Grade: A-

In a Manhattan Brownstone, a Woman Spends Her Time Inside Looking Out

Amy Adams in "The Woman in the Window"
Photo Credit: RottenTomatoes.com

Check out my review on SiftPop.com!

On Television, There’s a Street Where Everyone is Welcome

Jim Henson and Frank Oz in 
"Street Gang: How We Got to Sesame Street"
Photo Credit: Imdb.com

For over 50 years, “Sesame Street” has been a staple in children’s television, combining puppets and actors to act out educational, humorous, and sometimes emotional skits that helped teach their audience about life.  With its memorable characters and dedicated production staff, it isn’t any wonder why the show has lived for as long as it has since its beginnings on PBS.

Now, director Marilyn Agrelo brings the story of “Sesame Street” to life with her documentary, “Street Gang: How We Got to Sesame Street,” which is based on Michael Davis’ 2008 book, “Street Gang: The Complete History of Sesame Street.” Through Agrelo’s lens, we’re given a layered view into the brilliant minds behind what became one of the television’s most iconic shows.

The movie invites us to several interviews, both old and new, with those who were most involved in making “Sesame Street,” with a significant subject being Joan Ganz Cooney, one of the show’s creators.  As she talks about the program, it’s clear how much this project meant to her in terms of constructing a show that counter-programed the commercialized shows toward which children tended to gravitate, being committed to having “Sesame Street” be a show that could both entertain and educate.

We also receive a view into the genius of “Muppets” creator Jim Henson, who helped create some the characters on “Sesame Street.” The movie dives into the richness of his mind that shows a person who had a boundless imagination and who could conjure up these distinctive characters.  We’re told stories about how certain of those characters came to be, showing us how much care and attention went into creating them and ensuring audiences would keep coming back to see what adventures they would have and which lessons they would teach.

Other than Cooney and Henson, we’re given plenty of other interviews, whether they be from previous cast members of “Sesame Street,” or from individuals who worked behind the scenes. Through the many discussions that are had, we’re shown all of the challenges and rewards that came with putting this beloved show together, as well as the family that came out of creating this cultural touchstone.

Much like another PBS show, “Mister Rogers’ Neighborhood,” “Sesame Street” didn’t shy away from focusing on sensitive topics, including death.  This is displayed in a poignant scene that exhibits how the cast and crew handled the passing of Will Lee, who portrayed Mr. Hooper, a shop owner on the show. It’s a superb example of how “Sesame Street” was much more than a children’s show, and just like “Mister Rogers’ Neighborhood,” it knew that its young audiences could handle these types of issues if we gave them a chance.

There are many reasons why “Sesame Street” has been around for as long as it has, and “Street Gang” shows why this show continues to endure. Through the many episodes that have aired over the last few decades, viewers have known that, no matter what, there will always be a lesson to be learned, and a home to have on Sesame Street.

Grade: A

In an Afternoon, a Simple Gathering Turns into So Much More

Rachel Sennott in "Shiva Baby"
Photo Credit: RottenTomatoes.com

Only four months into 2021, it’s safe to say that we have a contender for best directorial debut of the year.  This arrives in the form of writer-director Emma Seligman’s unbearably tense comedy-drama, “Shiva Baby,” a film that unravels at a pace that’s both careful and nerve-racking.

Danielle (Rachel Sennott) is a college senior who isn’t sure what she wants to do with her life.  One day, she and her parents attend a shiva in their Jewish community.  Not too long after arriving, Danielle will have to face questions about her future, while also confronting people from her past.

Rennott provides a career-making performance as a young woman whose life is clouded by uncertainty.  She gives her character some touches of humor, but always keeps a sense of panic in her eyes and facial expressions as Danielle tries to navigate her way through nosy friends and family.  Rennott makes it easy to sympathize with her character because we can all relate to it in one way or another with how we’ve dealt with family, and watching her navigate an afternoon-long inquisition while trying to remain calm keeps us immersed in Danielle’s challenge.  With the anxiety of the situation, Rennott also shows the emotional buildup that her character is facing, showing an individual who could crack under the pressure at any minute while also trying to figure out who she is.

There’s an extensive supporting cast, with the audience being given the chance to meet the many different personalities that have gathered under one roof, but there are a few standouts.  There’s Polly Draper as Danielle’s mother; Molly Gordon as Maya, a young woman with whom Danielle has previous connections; and Dianna Agron as Kim, the wife of Danielle’s latest romantic fling.  All three characters do superb work in being sources of tension for Danielle in their own specific ways, and seeing their interactions with Danielle never fail to make your heart beat fast from your frayed nerves.

Seligman’s screenplay is one that thrives on its dialogue.  Every conversation that takes place in the movie is its own whirlwind, tossing Danielle from one inquisitive acquaintance to another as she tries to answer and dodge their questions about her life.  With the story pretty much taking place in real time, we’re given a view into a single location and all of its details and inhabitants, witnessing a convergence of varying personalities where every interaction is distinct from the others.  

The cinematography by Maria Rusche uses an extensive amount of closeups and medium shots to have us experience the intrusiveness of the shiva attendees as they approach Danielle like vultures who are looking for every last detail about her life.  It all calls to mind the opening scene of Mike Nichol’s “The Graduate” when Benjamin Braddock must make his way through various awkward encounters at his graduation party; except in Danielle’s situation, it lasts for the full movie.  The camera pushes its way through the crowds, placing us in Danielle’s position as she feels the congestion of the crowds closing in on her.  We travel with it as we’re brought from room to room through handheld camera movements that offer the lens a freedom to explore the surroundings.

The score by Ariel Marx mainly uses the plucking of string instruments, which evokes an unsettling feeling throughout.  This use of pizzicato makes it seem as though you’re watching a horror movie, albeit an understated one that’s made all the more frightening because of how close to reality it is.  It’s not an overblown score, but one that matches the minimalist plot and its everyday relatability.  Marx’s score jangles your nerves more and more as the afternoon goes on, assisting the movie in winding the tension tighter until you can’t move.

The way in which Seligman is able to maintain the anxiety-inducing nature of the scenario at hand will have you marvel at how much she can include in a film that’s barely an hour and 15 minutes.  This is a movie that’s character-driven, with Seligman understanding that there’s so much tension to be had just in the way people interact, and this is highlighted in a memorable scene later in the film where you’re pretty much yelling “Get out of the house!” to Danielle.  Between Seligman’s direction, Rusche’s camerawork, Marx’s score, and Hanna A. Park’s editing, this is an effective descent into a congested setting where you’re not safe from the intrusiveness of others.  Despite the tension that keeps building, Seligman is able to uphold the humor of the film and help you relax a bit in the middle of the barrage of questions that Danielle experiences.

Although you might be rooting for Danielle to save her sanity and leave the party, “Shiva Baby” will have you, as a viewer, not wanting to leave these small-scale thrills quite so soon.

Grade: A