michaelktyee

In the wake of the inconsistency of the live-action, universe building marathon, it's refreshing to see a simpler, more straightforward, yet still effectively intriguing story-telling pace set by DC's animated feature titles. JLD continues the trend of it's predecessor, excelling at brief but complete introductions to some of DC's more obscure characters, bringing them out of the shadows. The use of the overly popular Batman is very fitting here and die-hard and new fans should find a bunch to like. Animation is solid, the voice-casting is even better. Admittedly, this kind of animation is not for everyone (it's not on the grand scale of say, Disney). In retrospect, the Suicide Squad film would've benefited from a similar screenplay/storytelling. Hey WB, can we get some of these writers on board with the live action stuff?

Coherence and sense make a lot of watching any film. Without it, whether from a narrative or thematic standpoint, or both, there's nothing being communicated and thus barely anything worth watching.

That's, for the most part, the case here with this film, which is a remake of the 1970's French film of the same name — appropriating that title and narrative, and trying to explore a deeper 'murk' with the operative of sexual encounters driving the confusion that is suppose to neatly unravel the twists in the plot. However, the sex (why is it always sex?) only stalls the inevitable, underwhelming reveal, spoilers be damned.

At very least — emphasis on the "very" — the performances are still somewhat compelling; Freya Mavor is almost effortlessly charming and instantly watch-able, and I definitely get a feel for her character, almost solely off her performance alone. Also in supporting roles, Benjamin Biolay plays like he's auditioning for David Fincher's next noir thriller and Stacy Martin shows that she can transplant the natural charisma of Young Joe (Nymphomaniac, 2013). All three should be well worth a watch in more fortuitous and ambitious projects in the future.

There's effort to watching things that look this good but don't really pan out. In theory, the narrative, like the viewing experience, should, in fact, be effortless. The story of a group of viral sensations turned international superstars, this premise is simple and should play as such. The complexities of sibling-hood be damned, which if you were going to explore, then the beast should be tackled in the writing phase, not when the girls are challenged to play it out in their performances.

Also, seeing 'Jem' in the title reminded me of the mid-2000s UK pop star. This film has nothing to do with her.

Jon M Chu's past movies show gorgeous looking cinema — excellent choices as far as cinematography is concerned, that don't quite add up to great directing ones. I don't mean to speak, like many other critics/cynics/viewers, on knowing how a production works end-to- end. I mean to say here that if you're going to watch something which, for the most part, is a mess, it should at least be watch- able, and from his track record, I credit Chu with that and wish for him more fulfilling projects in his future.

As the film's poster suggests, the future of the stars in this film will get a chance to shine at some point. This just isn't it.