Released: 5th February 2021 (Netflix)
Length: 106 Minutes
Certificate: 15
Director: Sam Levinson
Starring: John David Washington and Zendaya
Self-contained stories often home in massively on intimate drama and relationships between individuals. Malcolm and Marie places heavy emphasis on its two leading actors, but its story does leave a lot to be desired.
The titular duo, played by John David Washington and Zendaya, have just returned from a major film awards event. Malcolm’s most recent production has received some strong acclaim, but Marie isn’t wholly satisfied with her partner’s behaviour and the state of their relationship. We watch this couple converse, argue and joke around and that’s the extent of the plot. With a slow and steady pacing, it goes back and forth with a straightforward structure. A conversation between the two characters unfolds and then we have a brief interlude with some classical or contemporary music in the background. The film does this shift at least five times and as a result, a samey style of transitions unfolds. While we do learn more about why the two are fighting across its runtime, the topics on display feel more sensationalist and disconnected. This is a partnership firmly rooted in moviemaking and show-business; with the wider context left to the background, there isn’t as much intrigue as you would find in other genre entries. Because of this, the plot struggles to fully engage.
The central story gets a little tiresome, but the actors still deliver good work all the way through; with so much dialogue and complicated interactions to juggle, Washington and Zendaya perform all of it as convincingly as possible. The way they can move so seamlessly between so many different emotions is their strongest achievement and you do believe in their bond. One moment they’ll be having a more serious talk and the next the two are getting more playful with their remarks. Transitioning through the ups and downs of the late evening is the film’s biggest selling point. On occasion though, it does tip into overacting. There’s a moment around two-thirds of the way in where Malcolm talks about a recent review of his film, essentially venting his wider frustrations. You could chalk this up to the alcohol on tap at the property but it still sticks out from the rest of the interactions. Clearly both John and Zendaya go a long way towards salvaging the overall production.
The singular setting of Malcolm and Marie makes for an intimate backdrop, something further highlighted by its black and white lens; it’s a fairly expansive mansion surrounding by a large garden. Both the actors and production staff make full use of the space; as a result, the cinematography is consistently well focused. Numerous close-up shots enhance the mood and movement around the house is always put on full display. The sound mixing is another interesting facet; when a character is off screen, their voice will shift accordingly, becoming more audible to your left or right. It’s a simple yet effective means to absorb the viewer in the setting.
While it’s competently made and acted, Malcolm and Marie’s aspirations towards arthouse simplicity don’t always translate into successful impacts. The discussions are rather rambling, the sense of connection somewhat disconnected and on the whole, the film doesn’t create a compelling drama. It’s worth checking out for the strong performances, but there are far better self-contained stories to be seen.
Rating: 3/5 Stars (Fair)
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