When JUDY met JOKER: Mental health in Hollywood

I was recently invited to discuss the portrayal of mental health in movies by the lovely people of the No Really, I’m Fine Podcast, and thought I’d share my notes with you.

It begins with recent films Joker and Judy, and ends with One Flew Over The Cuckoo’s Nest, taking in Changeling and Airplane! along the way. I hope you enjoy and/or find this useful.

WARNING: contains spoilers

You can listen to the podcast here and give them a follow @ImFinePodcast_

Joker and Judy are two recent and very different films in which the eponymous characters suffer mental illness in very differing ways, and in doing so the pair conform to a long established pattern of gender division in the portrayal of mental illness in the movies.

Joker

Phoenix on fire

Joker is a savage and disturbing thriller starring Joaquin Phoenix an aspiring stand-up comic and part time clown who suffers from a disorder that causes him to laugh at inappropriate times, he’s also generally nervous, lacks confidence and is not good socially.

When his medication and therapy is withdrawn because of funding cuts, he slowly becomes an insane and violent criminal, inspiring riots in the streets.

Judy

Zellweger on song

Judy is a biopic of Hollywood legend Judy Garland, who we see towards the end of her flagging career on stage in London, Renee Zellweger stars in a sympathetic portrait and sees Garland battles with long-standing nerves and addictions, leading to problems in her personal life including fighting a custody battle for her two younger kids, and a difficult fifth marriage.

Joker is a great example of when men in movies suffer mental illness, they typically externalise their problems and make them epic. Men seek to blame and punish others, become violent and their battles take place in a public arena. Male experiences of mental illness are closer to fantasy and framed as heroic, somehow successful, to a degree redemptive, or as in the case of Joker, they become powerful or somehow inspirational.

But when Judy and women suffer mental illness they typically internalise their problems and make them intimate. Women blame and punish themselves emotionally and physically, and their battles take place in the domestic arena. Female experiences are grounded in reality and framed as tragedy.

Plus women’s experiences of mental illness are defined by a perception of promiscuity, and of being a ‘bad’ i.e. neglectful mother, even when that ‘neglect’ is caused by the need to work in order to provide for their children.

It’s notable and typical Joker survives beyond the films end, and Judy doesn’t.

These gender defined portrayals and outcomes are consistent across all forms of mental illness when portrayed in movies, it doesn’t matter what form the mental illness of a character takes. Let’s look at a couple of examples, beginning with an absurdly extreme example to illustrate the point.

Dementia

Still Alice from 2014, is a small intimate, domestic drama which stars Julianne Moore as a middle aged woman diagnosed with Alzheimer’s.

Rise of the Planet of the Apes from 2011, is an epic action sci-fi adventure with John Lithgow suffering Alzheimer’s. His scientist son is trying to find a for cure Alzheimer’s, and along the way unleashes the monkey apocalypse.

Snow Cake

Weaver

Autism

Snow Cake is a 2006 indie romantic comedy drama starring Sigourney Weaver as a small town single woman with Autism, coming to terms with the death of her daughter.

Rain Man is a 1988 Las Vegas road trip comedy-drama starring Dustin Hoffman and is about the reconciliation of two wealthy brothers.

Rain Man

Hoffman

The next example is of deliberately inflicted mental damage, and the one after is a symptom of of mental illness, not a cause. However the gender division remains.

Enforced loss of memory; brainwashing.

Gaslight is a 1944 American psychological thriller starring Ingrid Bergman whose husband slowly manipulates her into believing that she is going insane.

The Bourne Identity is a 2002 action thriller starring Matt Damon who demonstrates advanced combat skills and fluency in several languages as he fights his way across Europe.

Eating disorders

Heathers is a 1988 satirical High school comedy starring Winona Ryder, which as well as touching upon bulimia, shows high school girls struggling with bullying, fat shaming, teenage suicide and violent, toxic boyfriends.

The Machinist is a 2004 dark thriller starring Christian Bale about a troubled factory worker who loses weight due to insomnia caused by a trauma, and eventually achieves salvation and peace.

So in all these examples we see the gender divide of external/internal, public/domestic, epic/intimate and heroic/tragic. Let’s have an example which provides another typical division, sexuality and a violent response.

Multiple Personality Disorder

Split is a 2016 psychological horror thriller starring James McAvoy as a man with 24 different personalities who kidnaps and imprisons three teenage girls. And similar to Joker, he is a super-villain

The Three Faces of Eve is a 1957 mystery drama starring Joanne Woodward as a married but childless woman suffering from a duel personality. Eve ‘White’ is a submissive housewife, while Eve ‘Black’, her ‘other’ personality is outspoken, promiscuous and considered a danger to other people’s children.

Filmmakers couldn’t show Eve having sex in 1957, so her promiscuity is presented in coded form, as dancing with a man other than her husband, who responds by slapping Eve.

This is important as it links madness in woman with promiscuity, and makes clear violence is an acceptable ‘cure’, or at least, a treatment.

Mental illness in men is super-villainy, mental illness in women is promiscuity and mistreating children. Sanity for men is being a superhero, and sanity for women is being married,  maternal, monogamous and submissive. And violence is the treatment. Which brings us to hysteria, and hysterical women in the movies.

HYSTERIA

Lets look at the most common mental affliction for women in the movies: Hysteria.

This can either be having a chronic attack of ‘nerves’, intense anxiety, or standing about screaming. It’s very loosely defined, if at all.

Airplane

Surely you can’t be serious?

Airplane! is a 1980 disaster comedy, the funniest film ever made but not without it’s problems. There’s a joke about a hysterical woman being slapped into submission. First a doctor, shakes her, shouts at her and then slaps her. She continues screaming, and so a fellow passenger steps up to shout, and shake and slap, and behind him is a queue of passengers, and they are armed with boxing gloves, guns and baseball bats.

This joke works because the filmmakers know the cinema audience is totally accustomed to seeing men slapping women when they’re acting hysterically.

I was 11 or 12 years old when I first saw Airplane! and even then I’d seen enough movies to understand the joke.

Hollywood allows, encourages and expects men to inflict violence on women who are mentally ill. Violent ‘treatment’ is justified, accepted, and normal.

The word hysteria comes from the Greek word for uterus, hystera, and the Greeks believed that the uterus moved up through a woman’s body, strangling her, and causing madness.

This suggests an entirely physical cause for the symptoms but, by linking them to the uterus, it means hysteria only affects women. So madness is framed around your gender. And this thinking continued well into the twentieth Century.

Men who don’t have a uterus are inherently sane, women who do, are inherently prone to madness. For women sanity is equated with being passive, submissive, and governable.

Hysteria is a catch-all condition which because it’s definition is so broad, it makes it very easy for doctor’s to identify and treat – usually but not always with violence.

 

Hysteria

Now this won’t hurt a bit

Hysteria is 2011 period drama set in 1880, and starring Hugh Dancy as the real life
Dr. Granville, who treats hysteria.

Because the medical profession thought anxiety originated in the uterus, common practice at the time was to manage the symptoms of hysteria by massaging a woman’s genital area.

Treating so many women results in his hand getting tired. So he adapts an electrical feather duster to use as an electric massager. And invents what we know today as a vibrator.

But the point to this, and remember this is a true story is this is a case of a doctor sexual abusing a mentally ill woman.

During Hysteria a character called Charlotte is arrested and during her trial, the prosecutor recommends Charlotte is sent to a sanatorium and be forced to undergo a hysterectomy, as that would ‘cure’ her.

The important thing to takeaway from Hysteria, the film and the condition, is the link between men diagnosing women as mentally ill, and then using violence and invasive force to subdue them. And here we have another common thread in cinema. A choice between prison or an asylum. We’ll come back to that in Cuckoo’s Nest.

So as well as the public/domestic, epic/intimate, gender division, women are identified as mentally ill for not conforming to men’s ideas of submissive, domestic and maternal womanhood. Also the women are typically punished for their behaviour beyond the expected ‘treatments’, often with death. Here’s a couple of examples, again using different types of mental health for comparison.

 

Falling Down

On the streets

Revolutionary Road

In the house

Depression

Falling Down is a 1993 thriller starring Michael Douglas who walks across Los Angeles using a bat, a gun and a rocket launcher on those who annoy him.

 

Revolutionary Road is a 2008 domestic drama starring Kate Winslet as a childless housewife who has extra-marital sex, then an abortion and then dies.

Obsessive Compulsive Disorder

As Good As It Gets is a 1997 romantic comedy starring Jack Nicholson as a misanthropic and obsessive-compulsive novelist whose reward for redeeming his previous bad behaviour is sex with the gorgeous Helen hunt.

Mommie Dearest is a 1981 docudrama starring Faye Dunaway as real life Hollywood star Joan Crawford, who’s depicted as an abusive mother who adopted her children to benefit her career, she is eventually publicly humiliated and dies of cancer.

PTSD

First Blood is a 1982 action film starring Sylvester Stallone as Vietnam War veteran John Rambos suffering PTSD, who destroys a small town in a one-man rampage.

In Our Name is a 2010 British drama starring Joanne Froggatt as a female soldier suffering PTSD, who sexually rejects her husband and struggles to care for her daughter on her return home from a tour of duty.

Schizophrenia

The Soloist is a 2009 drama starring Jamie Foxx as the real life Nathaniel Ayers, a talented but homeless musician who finds some measure of stability.

Through a Glass Darkly is a 1961 Swedish family drama starring Harriet Andersson who childless and sexually aberrant, sexually rejects her husband but has incestuous sex with her brother.

Suicide

It’s a Wonderful Life is a 1946 feel-good sentimental fantasy drama starring James Stewart as George Bailey who attempts suicide on Christmas Eve

The Virgin Suicides is a 1999 drama starring Kirsten Dunst, and sees five suburban teenage sisters suffer depression and make a suicide pact. They are all childless and unmarried, and one is promiscuous.

 

Dirty Harry

Men get guns

Criminality

So the gender division leads to women identified as mentally ill for not conforming to men’s ideas of submissive, domestic and maternal womanhood, and are punished for their behaviour beyond the expected ‘treatments’, often with death. Now we’ll see how these signifiers for women’s mental illness are also aligned to criminality.

Dirty Harry is a 1971 neo-noir action thriller which sees a serial killer called Scorpio shooting strangers on the streets of San Francisco, chased by a cop, Clint Eastwood.

Seven is a 1995 crime thriller with Kevin Spacey playing a serial killer, torturing strangers and being chased by a cop, Brad Pitt

Single White Female is a 1992 psychological erotic thriller which stars Jennifer Jason Leigh as a childless and promiscuous singleton who is obsessed with her roommate.

The Hand That Rocks The Cradle is a 1992 psychological thriller starring Rebecca De Mornay as a childless widow out to destroy a woman and steal her family.

 

Fatal Attraction

Insane, moi?

Fatal Attraction is a 1987 psychological thriller starring Glenn Close as childless, promiscuous singleton who becomes obsessed with a married man with whom she had an affair.

In all of these films the criminal, man or woman, is killed, reinforcing the idea violence against the mentally ill is acceptable.

But cinema simultaneously aligns female criminality with madness, violent behaviour, promiscuity, childlessness and unmarried.

In all cases cinema is reinforcing a definition of sanity for women, which is to be married, maternal, monogamous and submissive.

And if as a woman you step outside this male definition of female sanity, then expect to be labelled as mentally ill and men are justified in using violence against you, and you may end up dead.Which brings us to Angelina Jolie.

Film Title: Changeling

Check out the bars and that noose.

Changeling is a 2008 crime drama based on real-life events from California in 1928, and stars Angelina Jolie as a single woman called Christine, whose son Walter goes missing. But when she’s reunited with him,  she realises the boy the authorities insist is her son, is a different boy entirely.

She is naturally angry and upset, which as a woman is not the correct mental state to be challenging the State’s authority, as being ’emotional’ allows the police and local government to define her behaviour as irrational, i.e. a sign of mentally illness, and she is vilified as delusional, labeled as an unfit mother, and confined to a psychiatric ward

A doctor diagnoses Christine as delusional and forces her to take mood-regulating pills. Steele says he will release Christine if she admits she was mistaken about “Walter” she refuses. And the film doesn’t end well for anyone.

So cinema shows women being labelled as irrational is an excuse for any manner of abuse by the state and/or medical profession.

And under the guise of ‘treatment’ a woman may suffer incarceration, drug regimes, invasive surgery and/or lobotomy, as well as losing possession of her kids. And the criteria for judging the success of any treatment is how submissive and quiet the female patient is afterwards.

Another criteria for madness is not being maternal, not liking children, women are forced into domesticity and punished when they fail. being labelled a bad mother makes it very easy for the authorities to teak your kids away from you.

There is no happy ending to this film. But it does show some of the nasty ways the mentally ill are treated in asylums.

One Flew Over The Cuckoo’s Nest

I love this film, made in 1975, and was the 2nd of only 3 films have won all four top Oscars, best actor, actress, film, and director.

It was filmed film in a real mental hospital, in the Oregon State Hospital, and consequently is very good on visualising the mechanics of mental health treatment, the bars on the windows, the forced drugs, the physical restrictions such as strait jackets, and the barbaric use of electro-shock treatment.

Cuckoo McMurphy

Nice hat, Chesaroo

Remember how in Hysteria a character faced being sentenced to either prison or an asylum?

Cuckoos Nest starred Jack Nicholson as convicted sex offender Randall McMurphy, who chooses asylum over prison because he wants to avoid a regime of hard labour to which he’s been sentenced. McMurphy thinks the asylum offers an easier existence, and he is of course, very wrong.

 

The central conflict in the film is between McMurphy and Louise Fletcher’s Nurse Ratched, who runs the hospital ward to which he is restricted.

Cuckoo Ratched

The doctor won’t see you now

Presenting a sex offender as a hero was problematic, even for the 1970’s, and so the filmmakers down play the reason McMurphy is in the hospital, with his criminal behaviour rarely referred to beyond the opening scene.

And in the way Airplane! uses the audiences knowledge of cinema conventions to make a joke about hysteria, the filmmakers use the audiences knowledge of cinematic sanity to portray McMurphy as heroic, and to demonise Ratched.

McMurphy’s sanity is emphasised by showing him indulge with cinema’s male signifiers of sane male behaviour, such as playing cards and basketball, drinking, and having sex with a woman.

And it demonises the film’s authority figure Nurse Ratched by aligning her with cinemas traits of female insanity and criminality, such as being non-maternal, non-sexual, and non-submissive.

We’re asked to sympathise with and support an unpenitent rapist, a drunk, a brawler and gambler, and one who isn’t ill but wanting to avoid hard labour. Whereas the person we should be rooting for is the hard working and dignified professional, Nurse Ratched who’s been lumbered with the disruptive McMurphy.

In mental health in the movies, when woman succeed they remain defeated, and when men fail, they still win. It’s well, La La land.

ENDS.

 

Further reading:

https://hekint.org/2017/01/23/portrayal-of-schizophrenia-in-movies/

https://www.autism.org/movies-featuring-asd/

The below is from the World Health Organisation website:

There are many different mental disorders, with different presentations. They are generally characterized by a combination of abnormal thoughts, perceptions, emotions, behaviour and relationships with others.

Mental disorders include: depression, bipolar affective disorder, schizophrenia and other psychoses, dementia, intellectual disabilities and developmental disorders including autism.

Dementia is caused by a variety of diseases and injuries that affect the brain, such as Alzheimer’s disease or stroke.

https://www.who.int/en/news-room/fact-sheets/detail/mental-disorders

Blade Runner: The Final Cut

Cert 15 117mins Stars 5

Blade Runner: The Final Cut (1982, 2007) 

Ridley ScottBlade Runner: The Final Cut is the definitive version of director Ridley Scott‘s 1982’s sci-fi noir masterpiece.

Uniquely it stands on a pedestal with 1927’s Metropolis, and 1968’s 2001: A Space Odyssey, in the sci-fi canon, and alongside 1944’s Double Indemnity as a doom laden noir.

AndroidsDreamBased on the 1968 novel Do Androids Dream of Electric Sheep? by Philip K. Dick, Blade Runner is a combination of extraordinary visuals, superlative sound, Blade Runner’s superb cast includes Harrison Ford, Rutger Hauer, Sean Young, Edward James Olmos, M. Emmet Walsh and Daryl Hannah.

With various cuts of the film existing and offering very different endings, Scott trims The Final Cut to its noir roots and in doing so unequivocally resolves a long running debate concerning the nature of the central character, the ‘Blade Runner’, Rick Deckard.

Digitally remastered in 2007 for the 25th anniversary of the original 1982 release, Scott removed Deckard’s voice-over and a happy ending which the studio imposed on the original theatrical release, as well as reinserting a unicorn dream sequence.

Blade Runner scroll

The film takes place in Los Angeles of the year 2019. Six genetically engineered humans called replicants have escaped from an off-world colony and made their way to Earth, where their presence is outlawed.

BR fordIn Los Angeles two replicants are killed after trying to break into the headquarters of the Tyrell Corporation. This prompts M. Emmet Walsh‘s seedy police captain to strong-arm Harrison Ford‘s reluctant former detective, Rick Deckard, back into harness.

Though insisting he is twice as quit as when he walked in, Deckard accepts the order to find the remaining four replicants and destroy them, and an origami-modelling cop called Gaff is assigned to monitor Deckard’s progress.

While on the case Deckard first interviews then starts an affair with Sean Young‘s Rachael. She’s the glamorous niece of the head of the Tyrell Corporation, Dr. Eldon Tyrell, the chess-playing creator of the replicants.

DeckardThe euphemistic use of the word ‘retire’, reminds us Dick’s paranoid fear of the inevitable decay of our mortal bodies, reinforced by Scott scattering his sets with mannequin parts.

The screenplay by Hampton Fancher and David Peoples is a loose adaption of the source novel but is faithful to Dick’s obsessions of decay, transformation, paranoia and identity, and in The Final Cut at least, is respectful of noir’s hard-boiled cynicism.

It can also be read as a twisted riff on John Milton’s epic poem, Paradise Lost, with the replicants representing fallen angels rejecting their godlike creator.

Incorporating tolling bells, the magnificent score by Greek composer Vangelis, announces key themes as the film opens and veers between the apocalyptic and the heavenly.

The Tyrell Corporation’s HQ is a pyramidal mausoleum, a suitable resting place for a god before an ascension to a higher level of existence. The replicants can be interpreted as angels or demons who have descended to Earth from the chaotic off-world to challenge the Earth’s divine order, and possibly raise humanity to a higher plane of existence.

Br sebastian

The subjugated and animal nature of Earthbound humanity is explored through the use of rats, those harbingers of disease, decay and death. Tyrell talks of deserting rats when discussing the altering of the replicant’s DNA. There are pet rats among J.F. Sebastian’s engineered toys. Deckard is herded like a lab rat through the decaying prison of a mansion block.

Filmed in the ironwork interior of LA’s Bradbury building, the dreamlike apartment of genetic engineer J.F. Sebastian is a repository of childhood toys which Deckard must escape before he can be enlightened as to his real identity.

Br BattyThe relationship between the replicants provides the emotional core of the film. Daryl Hannah wraps herself affectionately around Rutger Hauer, who plays her partner and the replicant’s leader, Roy Batty.

And though the a homicidal Batty is set up as the villain, Hauer’s poetic and physical performance aches with life, love and loss. His powerful closing monologue which always bring s me to tears is all the more astonishing for being self-penned.

BRrachaelFor those who think Scott is a stylist indifferent to his actors labours, they should consider the performance he elicits from Sean Young, who is perfectly in tune with the demands of the role.

In a brilliantly tense conclusion we see Rachael asleep in her apartment and Deckard approaching her, gun in hand. We don’t know whether he will kill her or kiss her.

There’s a declaration of love and a big sigh of relief from the audience. But as Deckard and Rachael leave his apartment, they find an origami unicorn left by Gaff. This changes the entire thrust of the story and our understanding of it.

UnicornGaff’s origami is evidence he knows Deckard’s dreams are memory implants, causing Deckard and the audience to belatedly realise he is also a replicant. His entire life is a lie and he has unwittingly killed his own replicant family members at the behest of the police, his enemies, who he realises he now has to escape from.

This bleak revelation is perfect film noir.

But the power of Blade Runner has been diluted by the studio edit prompting a discussion over Deckard’s replicant status. This drags our focus from a brilliant noir ending to a non-debate over the nature of Deckard’s humanity.

Instead of the audience being overwhelmed by the force of this drama, for nearly forty years everyone has chuntered over the ‘is he a replicant’ debate, a controversy this definitive version retires.

Harrison Ford was strategically picked to play Deckard in a casting masterstroke of cinematic deception. The audience is fooled by their own presumption the star is playing a hero.

A huge star from his swashbuckling roles in 1977’s Star Wars, and 1981’s Raiders of the Lost Ark, as Han Solo, and Indiana Jones, the audience expected more of the same. Ford’s status as heroic Hollywood leading man leads us to believe Deckard is the hero until we and Deckard realise he isn’t. We don’t expect a character played by Ford to be the fall guy.

The Big SleepAs a hard drinking detective with a laconic delivery and ready attitude in the face of authority, Ford is presented as a futuristic Humphrey Bogart, rebooted, updated and teleported in from Hollywood’s Golden Age of noir.

Ford is happy to riff on Bogart’s goofy undercover book lover in  1946’s The Big Sleep to emphasise the connection. There’s even a reference to Sydney Greenstreet in Bogart’s classic wartime melodrama, Casablanca as Deckard interrogates a fez-wearing gangster, The Egyptian.

Plus the story is told through Deckard’s eyes. So Deckard’s the hero, right? He’s an updated and rebooted sci-fi Philip Marlowe, right? Wrong.

To watch The Final Cut is to realise, and this is despite what Bryant tells him, Deckard is not especially good at his job.

He’s beaten up in turn by each of the four replicants. While failing to dispatch either of the males, he shoots the unarmed females, and he only manages to kill one of them by shooting her in the back as she’s running away. And as Batty mockingly points out, Deckard is not very sporting. Ordered to retire Rachael, Deckard has sex with her instead.

indemnityFar from being Bogart 2.0, Deckard is far more of an upgrade of Fred MacMurray’s hapless insurance salesman Walter Neff from 1944 noir masterpiece. Double Indemnity. In classic noir fashion, Deckard is too dim to realise he’s always behind the game. it’s not until the end he understands how little he knows. He’s a prize chump.

Blade Runner is rightly celebrated for its superlative sci-fi styling, but I love The Final Cut for revelling in the noir at the heart of this rain-soaked LA story.

@ChrisHunneysett

THE VAST OF NIGHT

Cert 12 Stars 4

Creepy, claustrophobic and immaculately constructed, this stylish and intriguing sci-fi mystery thriller pays loving homage to TV shows such as The Twilight Zone as it builds to a haunting and transcendent finale.

Set in the 1950’s Sierra McCormick and Jake Horowitz have a lovely flirtatious chemistry as an earnest telephone operator and a cocky local radio DJ, who begin exploring reports of power cuts, strange electrical interference and secret military operations in the nearby desert of New Mexico.

Their enthusiasm for new technology is infectious and their rat-a-tat dialogue makes hanging out with them great fun, especially as the film treats their fears and concerns with great seriousness and respect.

It’s a remarkable directorial debut by Andrew Patterson, who demonstrates a deft confidence, steady handed ambition and an unadulterated love of cinema.

He skilfully deploys a light-handed awareness of the time’s racial, class and sexual divisions, there’s a palpable love of the period’s technology, and I really dug the cars and clothes, daddy-o.

THE LAST FULL MEASURE

Cert 15 Stars 3

A battle for justice is fought for a Vietnam War veteran in this straightforward and respectful real life US drama given gravitas by the astonishing roll call of acting talent.

Giving gravitas to a workaday script are William Hurt, Ed Harris, Peter Fonda, Samuel L. Jackson, Christopher Plummer, and in the lead is Sebastian Stan, fresh from saving the world in Marvel’s blockbuster smash Avengers: Endgame.

Sporting an interesting bouffant hairstyle he plays a young ambitious government lawyer strong-armed into securing a posthumous prestigious Medal of Honour for a Pararescueman, a member of what’s essentially the air ambulance wing of the US air force.

Flashback combat rescue scenes are effectively staged so we’re in no doubt as to him being a worthy recipient, as well providing as some welcome punctuation to the pedestrian investigative stuff.

Where once the Vietnam War was used to explore the dark heart of humanity, this is a solid endorsement for family, the flag and the sacrifice of the common soldier.

THE HIGH NOTE

Cert 12 Stars 3

Freed from the constraints of the Fifty Shades series which showed off all her talents but the acting ones, Dakota Johnson delivers a warm, funny and endearing performance in this glossy and escapist romcom set in the small and incestuous LA music scene.

With uptempo soul songs on the soundtrack it begins as a reasonable cover version of 2006 smash, The Devil Wears Prada, and sees a put-upon and poorly paid personal assistant called Maggie attempting to realise her dreams of producing a new album for the ageing diva she skivvies for.

Johnson gracefully shoulders the film as Maggie with an impressive yet understated comic ability and an easy confidence which suggests playing this sort of role comes easily to her, and there’s no escaping she gives the impression of having a great deal more to give.

But the script isn’t as strong as the one her mother Melanie Griffith had in 1988’s Working Girl. And this may as well have been written back then for all the relevance the internet seems to be in this version of the music biz.

Meanwhile Tracee Ellis Ross, the daughter of Motown legend Diana Ross brings a tremendous swagger as Maggie’s boss. She comes armed with a delightfully earthy laugh, a tremendous singing voice talent, and a great deal of conviction when delivering a speech about the sacrifices necessary for a middle aged black woman to maintain a high profile career.

Former rapper Ice Cube plays her irate manager, Kelvin Harrison Jr. as David Cliff impresses as an aspiring musician and love interest, Bill Pullman has a brief if agreeable appearance as Maggie’s father, and Brit comic Eddie Izzard breezes though in little more than a cameo.

Having made last year’s so-so Emma Thompson comedy Late Night, director Nisha Ganatra keeps everyone singing from the same hymn sheet and provides another serviceable and female-centred piece of light entertainment.

TO THE STARS

Cert 12 Stars 3

This unforgiving portrait of small town prejudice in 1960s is also a heartfelt coming-of-age drama which is filled with fine performances but saddled with a twee sugary and sentimental soundtrack which wrestles at times with the sombre tone.

With alcoholism, depression and domestic abuse it’s a moody period piece with interiors to match, given welcome respite by the glorious expanse of the Oklahoma landscape.

Kara Hayward and Liana Liberato star as Iris and Maggie, polar opposite characters whose burgeoning friendship is to have a dramatic and irreversible impact on their lives.

Iris is a shy and bespectacled wallflower who is saved from the unwanted attentions of local boys when Maggie arrives in town with a violent intent and confidence worthy of a Western hero.

They bond over make-overs, road trips and midnight skinny-dipping sessions, and though Maggie is an inspirational figure to Iris, she has a secret which threatens their developing friendship, and it’s not just her father isn’t the glamorous photographer she claims him to be.

I’M NO LONGER HERE

Cert 15 Stars 4

There’s an extraordinary richness to this meandering yet moving drama which manages to combine a wholly original take on Mexican gang culture, a scathing view of globalisation, an exploration of loneliness and a lament for the diminishing cultural identity of local communities.

Juan Daniel Garcia is quietly charismatic as 17-year-old Ulises, an exuberantly styled devotee of Cumbia, a slowed down and hypnotic version of traditional Colombian music which sets the film’s pace and allows the characters to breathe.

His accidental involvement in a serious crime sees him sent away to New York for his own protection, meaning the late night community dancing he leads with an almost religious fervour at the film’s beginning is performed in very different circumstances at the films end.

The camerawork is often exquisite as it finds fresh angles on familiar situations, and provides an immersive and sometimes documentary viewing experience. If I’d seen this on the big screen I’d probably have given it the full five stars.

THE LOVEBIRDS

Cert 15 Stars 3

A pair of likeable stars bring a breezy freshness to this otherwise by-the-numbers romcom caper and do enough to divert you from the feeling you’ve seen it all before.

Issa Rae and Kumail Nanjiani play Leilani and Jibran, lovebirds who risk becoming jailbirds when a road accident unwittingly involves them in a high powered blackmail conspiracy and a night of being chased by the police and a relentless gun-toting bad guy.

Being in possession of a phone containing compromising photographs of prominent people, they’re chased around from dinner party, to bars, and to a masked ball which unsurprisingly turns out to be populated by high society swingers.

Being tied up, assaulted and forced to dress very badly allows them to learn truths about each other and reevaluate their relationship.

If this sounds familiar well you’re probably thinking of Steve Carell and Tina Fey in 2010’s Date Night, or Jason Bateman and Rachel McAdams in 2018’s Game Night, and possibly a few more besides.

Where this is notably different is in the casting, as it’s still regrettably rare to see an African-American and a Pakistani-American headlining even in this sort of modest Hollywood fare.

The script is blind to their ethnicity except when gags are made about police prejudice, and even this is balanced by the vaguely sympathetic investigating officer also being African-American.

Rae is bright, vivacious and the more funny and ballsy of the two, though that doesn’t take much, as Nanjiani would probably be the first to admit he’s far from being an Alpha male.

He’s amiable screen presence and his throwaway comic asides on modern life are delivered in the passive aggressive style manner he demonstrated in 2017’s romcom success, The Big Sick, for which he was Oscar nominated for Best Original Screenplay.

A mainstream entertainment not trying to change the world, The Lovebirds provides sufficient chuckles in its enjoyable, undemanding and disposable way.

VIVARIUM

Cert 15 Stars 3

Quirky Brit actress Imogen Poots is deservedly given top billing over her more famous Hollywood co-star Jesse Eisenberg in this unnerving dystopian sci-fi horror which owes a considerable debt to the classic novels of John Wyndham.

They’re very well cast in a creepy savage satire of 21st century suburban servitude and a nightmarish dissection of modern life, whose off-beat script brings out the best in actors who’ve struggled to land leading roles suitable to their distinctive talents.

They’re nicely convincing as an aspiring couple whose relationship is tested when they become mysteriously trapped on an otherwise empty new-build identikit housing estate.

Poots is mischievous, terrified, angry, endearing and generally terrific, while the supremely articulate Eisenberg is often left speechless as their situation intensifies.

Director Lorcan Finnegan explores ideas of conformity, nesting and identity which argues civilisation is a prison which blinds us to the truth of our existence. And he has a less than kind view of estate agents as well.