A24

The Drama

04/04/26

Cineworld, Edinburgh

Charlie (Robert Pattinson) and Emma (Zendaya) are a successful young couple based in Boston. The story begins with a flashback to their first meeting – an endearingly bumbling meet-cute in a coffee shop – but they have been together for two years now. They share a nice apartment, are both in secure jobs and clearly love each other deeply. So naturally they decide that it’s time to officially tie the knot. Like so many couples before them, they set all the wheels in motion: classes with a choreographer for that all-important first dance, test photographs to make sure they actually know how to smile convincingly, sample menus just to ensure that every bite on the big day will be perfect… and wine of course. Don’t forget the wine!

But things take an unexpected turn when, a few days before the wedding, they get drunk with their close friends, Mike (Mamoudou Athie), who is Charlie’s choice for Best Man, and Rachel (Alana Haim), who Emma has chosen as her Maid of Honour. Playing an impromptu game of ‘what’s the worst thing you’ve even done?’ Emma shares something that happened to her when she was just fifteen years old – something so shocking that it casts an immediate pall over the proceedings and starts Charlie wondering if he really does want to spend the rest of his life with this woman.

From this point, the whole enterprise begins to spin dangerously out of control and everything the couple does to try to limit the potential damage only makes it so much worse…

The Drama is aptly titled (how does production company A24 manage to unearth so many great projects?) because it focuses on the performative nature of the wedding experience and, no matter how many unexpected twists are thrown into the mix, this deliciously dark comedy never flags. Both Pattinson and Zendaya are great in the lead roles but the supporting cast also shine in their respective parts, particularly Haim, who is transformed by Emma’s confession into a sneering, vengeful version of her former self. There are some truly toe-curdling moments that actually have me wincing and offering silent thanks that my own wedding had none of the hurdles depicted here. The groom’s speech actually has me wanting to hide behind my seat.

Written and directed by Kristoffer Borgli, The Drama utilises a wonderfully fragmentary approach, cutting back and forth across Emma’s backstory, where she’s played by Jordyn Curet. That dark revelation has polarised audiences in the USA, where one newspaper has already awarded it a ‘no stars’ review – but to my mind, the way Emma’s childhood is revealed makes me totally understand what happened to make her act as she did. Also, I don’t believe in thought crime but I do believe in second chances.

We are also offered glimpses of Charlie’s dreams, and his dark imaginings as he contemplates what the future might hold for him. This is a smart, ingenious, low-budget film that delivers in just about every respect and, whatever else you think of it, I’m pretty sure you won’t be bored.

4. 4 stars

Philip Caveney

Civil War

14/04/24

Cineworld, Edinburgh

With the situation in the Middle East rapidly approaching flashpoint, it seems a particularly propitious time for Alex Garland’s Civil War to open at UK cinemas. If it was devised as a kind of warning for the near future, then it now seems doubly unnerving. Set in an unspecified year, the film opens with the president of the United States (a suitably Trumpian Nick Offerman) rehearsing a speech telling his followers that all is well and that the seditionary forces opposing him will soon be vanquished. But in reality, the civil war which that has been raging for some time is now approaching its inevitable conclusion as the aforementioned insurrectionists converge on Washington DC. And they haven’t come to shake the president’s hand.

Renowned photojournalist Lee Smith (Kirsten Dunst) and her colleague Joel (Wagner Moura) are both determined to be at the capital in time to witness what happens, and – more importantly – to capture it on film. But getting there will involve a long and hazardous trip across the war-torn country. The night before they leave they pick up a couple of fellow travellers: veteran newshound Sammy (Stephen McKinley Henderson), more cautious than the other two, but still determined to be in at the kill – and young novice Jessie (Cailee Spaeny), who actually idolises Lee and wants to – quite literally – follow in her footsteps…

Civil War has been criticised by some for failing to pin down exactly who is attacking whom in the various conflicts the foursome encounter – but I think that’s entirely the point. Garland (who also wrote the screenplay) wants to show the confusion of warfare, the fact that all kinds of people are pitching into this carnage with manifestos of their own. Against this chaotic background, Garland is much more interested in the photojournalists themselves, the callousness they must possess in order to observe atrocities without ever pitching in to help, the utter determination that propels them to risk their own lives in order to get that one all-important image and document history as it unfolds.

The background in which these scenarios play out is convincingly portrayed. This is production company A24’s most expensive project yet and it shows, the final conflict in the capital rendered with absolute veracity. There’s a powerful sense of unease that builds steadily throughout the film and I’ve rarely seen urban warfare depicted with such unflinching realism and attention to detail. Watch out for a powerful cameo from Jesse Plemons as a merciless soldier in a particularly dread-charged sequence and marvel too at the clever device that repeatedly halts cinematographer Rob Hardy’s adrenaline-charged action sequences to pick out one black and white image.

I’ve occasionally had issues with some of Garland’s endings (Men in particular, where he seemed to be pounding home his final message with a sledgehammer) but this keeps me gripped right to the final frame. Civil War’s conclusion may be too cynical for some, but I feel it’s absolutely spot on. Furthermore, I’d go so far as to suggest that this might be Alex Garland’s most fully-realised film so far.

But be warned. You’ll most likely leave the cinema feeling pretty grim about the future.

4.6 stars

Philip Caveney