PRISCILLA Review

Counting Priscilla, I've seen five of Sofia Coppola's eight narrative feature films (Virgin Suicides, Marie Antoinette, and Somewhere are my blind spots) and the trapped, isolated, lonely woman is an obvious recurring theme in her work. This is no doubt what attracted the writer/director to Priscilla Presley's 1985 memoir Elvis and Me on which Priscilla is based. Telling the story of Priscilla's courtship with Elvis, beginning in 1959 when she was only fourteen and Elvis was twenty-four, Coppola's film very much feels like a collection of very specific instances and memories Presley recalls during the thirteen years their lives crossed paths. These moments clearly left an indelible mark on what was otherwise a smitten teenager, but that would seemingly shape Presley into the woman she became; in many ways showing her a life she didn't necessarily want to lead. What makes Coppola's film so engaging are the conflicted feelings Presley experiences throughout her relationship with Elvis while the lack of any real momentum combined with a general knowledge of the events and timeline the film covers lend the film no real urgency regardless of the importance of this perspective. 

In last year's Baz Luhrman-directed, Austin Butler-starring Elvis, the scene in which Elvis meets Priscilla for the first time occurs just over an hour into the film after which it manages to distill this courtship down into a five minute scene making Priscilla much more brash in the process which is notable given Cailee Spaeny's portrayal is far more reserved. Priscilla herself seemed thrilled with Luhrman's biopic, but is also an executive producer on this film making the gray area all the more fuzzy. I wouldn't say Priscilla necessarily paints Elvis in a bad light as much as it does very much a man of his own time who handled his fame in the only way that seemed reasonable given the circumstances. Coppola's interpretation certainly makes it clear Elvis could be controlling (telling his young bride what to wear and how to style her hair), quick to lose his temper at the slightest sense of resistence, and would straight-up flirt with other women right in front of Priscilla's face, but the adapted screenplay also recognizes she is this man's safe haven and as much as she desired to do things for herself, she desired to serve that purpose for him as well. Now, I know what you're thinking, and it's a strong, "Hell no!" which is completely understandable and as a parent of a nine year-old girl who couldn't stop considering how fourteen is only five years off at several points during this viewing experience, I wholeheartedly agree. That said, and as previously stated, this is the crux of the arc we're meant to invest in and in that regard, the film does its job. 

BOTTOMS Review

I wanted to watch this again as soon as the credits (which were intercut with bloopers, I might add) ended. For 92-minutes writer/director Emma Seligman's (Shiva Baby) sophomore effort maintains a level of energy and intensity that shouldn't be overlooked. It's easy for movies to come out of the gate strong, it's admittedly difficult for movies to stick the landing, but one of the most overlooked and undervalued skills in filmmaking as a beginning to end process is maintaining the tone and energy you come out of the gate with through to the end and Bottoms comes out of the gate strong. Fortunately, Seligman and star Rachel Sennott's screenplay seemingly accomplishes everything it sets out to do, but more importantly it excels in doing so. The way in which the dialogue feels so natural, the rate at which the jokes land, and the simple creativity involved in crafting and conveying this hyper-realized version of high school where no one is subtle about or offended by which clique they belong to or where they land in the pecking order is simultaneously so impressive and so wildly funny that those aforementioned 92-minutes feel like nothing, a tease, which means all you can and want to do when the film ends is to watch it again immediately. 

Bottoms is a film as easy to appreciate as it is to be entertained by. It's not hard to spot all the ways in which Seligman and Sennott wanted to put their own stamp on the genre. This is still very much a high school movie in the vein of two best friends trying to get laid their senior year before leaving for college, but with the gender swap bit being only the first layer in their scheme to recontextualize this quest we've witnessed so many times before. Sennott and breakout star Ayo Edebiri are best friends PJ and Josie who are also both lesbians but are not involved with one another romantically. Josie is crushing on head cheerleader Isabel (Havana Rose Liu) who is currently dating the alpha male of the school in Josh (Nicholas Galitzine) while PJ would love to hook up with Isabel's right hand gal Brittany (Kaia Gerber) because she may as well be Cindy Crawford ;). Sounds simple enough, right? It is. Don't fret. Thematically we're not going for much more than some simple, universal truths about how tough it can be in those coming-of-age years, but it is in the attitude and style of how it presents itself that Bottoms really stands on its own.