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Alexandra Daddario

Lost Girls and Love Hotels: Heartbreaking Hook-Ups in Hotels

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Sometimes, there’s a thin line between love and lust.

Directed by William Olsson, Lost Girls and Love Hotels tells the story of Margaret (Alexandra Daddario), a young woman struggling to find her way in the urban heart of Tokyo, Japan. Though she works as an English teacher at a flight attendant academy by day, Margaret spends her nights in love hotels with random men in an effort to ignore the loneliness inside her. When she enters into a passionate affair with a charming yakuza named Kazu (Takehiro Hira), Margaret falls deeply in love with him. However, as his secrets emerge and her insecurities surface, Margaret and Kazu must decide whether their relationship is worth the pain that it may cause them both.

Part Lost in Translation and part 50 Shades of Grey, Lost Girls is a dark and brooding film that blurs the lines between love and loneliness. Mirroring the double life that Margaret clings to onscreen, director Olsson weaves a web of sexual intrigue that swings wildly in tone. However, by juxtaposing the bustle of Tokyo’s everyday world with the seediness of night, Olsson does an excellent job of portraying the double-minded nature of urban life. For example, during the day, he uses the crisp lines and cool lighting to portray Tokyo as a city of organization and efficiency. Meanwhile, at night, he bathes the screen with filtered lighting and bleeding colours, giving the city a sleezy eeriness that would be featured in the best neo-Noir suspense thrillers. Nonetheless, as the film progresses Olsson shows that these two worlds blur together for Margaret who doesn’t fit neatly into either one.

With this in mind, credit must also be given to Daddario for her solid performance as a young woman searching for her soul. Not known for her dramatic work, Daddario shows her range by putting Margaret’s emotional scars on full display. Even so, at the same time, Daddario gives her character an underlying innocence that adds to the tragedy of her arc. This sweetness also allows for her scenes with Hira to feel genuine as the two display an engaging and playful chemistry onscreen. 

In many ways, Lost Girls is an intriguing exploration of the relationship between love and sex. As a young woman alone in a foreign culture, Margaret attempts to kill her inner pain with random sexual encounters. Though a [mostly] stable English teacher by day, Margaret moves from bed to bed after dark in an effort to feel some form of joy in her life. For Margaret, the emptiness of lustful hook-ups has become a drug to get her through the night. However, when she meets Kazu, things change for her. Though the two spend nights hidden away, Margaret finds something in their relationship that she has been lacking… a sense of home and stability. Broken by the losses that she’s suffered throughout her life, Margaret’s heart is filled with feelings of abandonment yet she is instantly drawn to Kazu’s power and confidence. As a member of the yakuza, Kazu may be seen as dangerous to others but Margaret instantly feels safe with him.

Further, it’s interesting to note how Olsson chooses to shoot these sexual encounters. Whereas films like 50 Shades depict escalating sexual subjugation within the confines of relationship, Lost Girls takes the opposite approach visually. Instead, the most graphic onscreen moments are reserved for Margaret’s most meaningless sexual encounters. Though she is willing to participate in sexual servitude and bondage, those moments do not occur in her nights with Kazu. When she is with Kazu, scenes of intimacy are shot with reverence and tenderness, highlighting the connection between the two. (In fact, it’s interesting to note that Daddario’s nude scenes are primarily limited to her empty sexual experiences, emphasizing their exploitative and abusive nature.) In doing so, Olsson’s goal seems not to be to shame sexuality but rather to emphasize the power of soul-connecting intimacy between a loving couple.

Now, having said this, it’s also worth noting that the downfall of Lost Girls also stems from its male gaze. While Olsson can be given credit for attempting to empower his lead character, Lost Girls still feels like it doesn’t understand the female psyche. Though Daddario’s work here is particularly good, the film ultimately establishes Margaret as a character in need of rescue from the men in her life. (In comparison, as a woman herself, Coppola’s writing in Lost in Translation feels much more sensitive to Charlotte’s [Scarlett Johannson] journey.) In Lost Girls, Margaret allows Kazu to gradually become her life support and, when that relationship struggles, she falls further into darkness. In this way, Olsson’s script portrays Margaret as a modern damsel in distress with her inner strength dependant on whether or not Kazu approves of her. As a result, while Lost Girls wants to say something about the female experience, Olsson’s personal blinders limit Margaret from becoming a character worth fully admiring when the credits roll.

Swinging between sweet and sinister, Lost Girls and Love Hotels is an often-intriguing exploration of love in a place of hopelessness. Although sexually graphic in nature, the film uses these moments to remind the viewer that intimacy between lovers matters more than the quantity of their experiences. Even so, however, in the moments where Olsson’s work shows reveals his male bias, Lost Girls shows that love may not be the only thing here that is blind.

Lost Girls and Love Hotels is available on VOD on February 9th, 2021.

Songbird: Love in Lockdown

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Alexandra Daddario stars in SONGBIRD

Set in the near future, Songbird tells a story that feels all too familiar. While a deadly pandemic lays waste to humanity’s way of life, everyone remains in complete lockdown out of fear for their lives. Only the brave few who are immune (called ‘Munies) are able to freely walk the streets, yet are forced to live lives of solitude and loneliness. One of these ‘Munies is Nico Price (KJ Apa), a local delivery boy who is involved in a passionate—yet, unfortunately, digital—relationship with his girlfriend, Sara Garcia (Sofia Carson). When May’s grandmother falls ill, Nico takes it upon himself to attempt to rescue the love of his life before she is dragged away to the quarantine zone.

Written and directed by Adam Mason, Songbird is a high-octane blast of fun that somehow still manages to tell an intimate story. Known for creating lower-tier horror movies, Songbird is Mason’s first attempt with a bigger budget and higher profile cast. Firing on all cylinders, the vast majority of the cast are energetic and solid in their performances, especially central couple Apa and Carson who have genuine chemistry though almost never together in the same physical space. Also notable is the ever engaging Bradley Whitford, who seems to have perfected the snarling villain role in recent years.

KJ Apa stars in SONGBIRD

Produced by Michael Bay, the Transformers director’s fingerprints on the visual style of the film are unmistakable. Neon filters and lens flares mixed with a pounding soundtrack fit very neatly into Bay’s canon of films. However, whereas Bay often loses himself in his own over-use of fiery special effects, Mason keeps the focus intently on the characters and their stories. In doing so, Mason manages to avoid the over-indulgent trappings of ‘Bay-hem’ and create a story that feels more personal, even amidst its stylization.

Though the film’s setting and premise could be considered exploitative (or even insensitive), it also comes across as a cathartic experience. Rather than tip-toe around the current pandemic with a virus that sounds like the one we’re currently battling, Mason leans into the reality of the situation and simply names his virus COVID-23. In doing so, Songbird becomes its own form of response to a disease that has laid waste to our own way of life. (Maybe that’s why the cast feel so invested in their characters as well?)

Sofia Carson stars in SONGBIRD

As the characters fight to survive, we feel like we can fight along with them.

What’s more, within this pseudo-prophetic vision of the future, the real value of Songbird lies in its passion for human connection. With the world in lockdown and a deadly virus lurking outside, the film highlights a human race desperate to reach out to one another. Whether it’s late night trysts that stem from an unhappy marriage, online chats with strangers or watching movies together over the phone, the film shows a disenfranchised people looking for ways to combat the loneliness that stems from eternal lockdown. 

To its credit, at a time when this vision of the future feels almost imminent in the real world, Songbird serves as a reminder of the necessity of human intimacy and love beyond our use of technology. When people are unable to touch one another except through glass, the very simple act of holding hands feels like the most intimate of moments but remains infinitely out of reach. In other words, the film recognizes that what humans ultimately desire more than anything else is neither sex nor another Zoom call.

KJ Apa stars in SONGBIRD

They want to be free to experience the tenderness of loving, human touch. 

Energetic and enthusiastic, Songbird is a ride that’s worth taking. Though there are those who will shy away from its pseudo-realistic storyline, in many ways Mason offers an emotional release to the tensions that we experience. While the pandemic has laid waste to the lives of his characters, Mason leans into the signs of hope that can be sparked in the midst of the darkness when love is set free. 

And, at a time when reality feels like fiction, there’s nothing more important than that.

KJ Apa stars in SONGBIRD

Songbird is available digitally and in Blu-ray and DVD.

Baywatch: The Rock Saves the Bay

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In Baywatch, Lt. Mitch Buchannon (Dwayne Johnson) and his team of lifeguards, including second-in-commmand Stephanie Holden (Ilfenesh Holden) and veteran C.J. Parker (Kelly Rohrback), protect the beaches and the bay in Emerald Bay, Florida. Having made over 500 rescues in his career, Mitch is beloved by the community, to the annoyance of local beat cop Garner Ellerbee and Mitch’s superior, Captain Thorne. Mitch and his team view themselves as the Bay’s last line of defense, risking their and even solving major crimes.  After adding newcomers to their squad, including reckless Olympian Matt Brody (Zac Efron), they soon find themselves in too deep when a nefarious landowner (Priyanka Chopra) begins to stir up trouble and they also discover a potential new drug that threatens their entire beach and its patrons.

Running from 1989-2001, the original Baywatch quickly became one of the most watched television series of all time, becoming known for its emphasis on tanned beach bodies and, yes, slow-motion running.  Reigniting the career of 80s star David Hasselhoff (Knight Rider) and helping Pamela Anderson to become a household name, Baywatch appeared to take itself seriously as an intense drama about saving lives.  (The problem with this approach is that more people were watching for the bikinis—and, yes, slow-motion running—than the dramatic tension.)

The reboot, however, wisely sidesteps the show’s false sincerity by constantly winking at the camera.  (“This all sounds like the plot of a cheesy, old tv series,” Efron muses.)  Attempting to enjoy the same success as the recent 21 Jump Street series, Baywatch has marketed itself as a fun, action adventure which, for the most part, it seems to be.  While the script lacks the sharpness of the Jump Street films, the film’s desire to poke fun at the show’s (and genre) conventions and the light-hearted atmosphere on set helps Baywatch to stay afloat.

Holding it all together, though, is Johnson himself.  It is no coincidence that he is the centrepiece of all promotional materials.  In fact, a film like this is a reminder of why he is the highest paid actor in the business today.  The man has such charisma that he seems able to elevate any material that he’s given.  A fault line destroying the coast in San Andreas?  Sure!  Stalling franchises like Fast and the Furious or GI Joe?  Send him in!  (For crying out loud, news of a potential presidential bid was circling the internet last week… and people loved the idea!)

In this regard, Baywatch is no different.  Despite the fact that the jokes don’t always work and the material is lacking at times, Johnson’s ability to display both bravado and self-deprecation simultaneously draws you in.  Perhaps the best example of this comes in the film’s title card reveal.  Johnson emerges from the waters with fire in his eyes, carrying the body of an injured swimmer.  Suddenly, the title emerges from the horizon in grandiose style, filling the rest of the screen behind him.  It’s a scene that received giggles from our audience… but, given the over-the-top nature of the visuals, we also know that we’ve been invited to do so.  (Incidentally, those giggles soon turned to cheers, as well.)  In moments like this, we can see that he’s having a blast, so we’re willing to hop on the ride as well.

Usually at this time, I would shift the conversation to discuss some of the more theological themes that break into the film.  While I could easily delve into ideas about the nature of sacrificing our lives for others or the public’s responsibility to care for one another, honestly, that’s not what this film is about.  While Mitch is definitely a community example in the way he conducts himself, the film, ultimately, concerns itself most with its desire to satirize its own genre.  (Although, to be fair, Mitch’s objective standard of doing what is right does shines a light on his entire community and calls them all to a standard higher than their own… hey, look!  I did it!)

Eventually, there will come a time where Johnson’s star is not the center of Hollywood’s universe.  It happens to everyone and, at some point, his films will eventually lose their sheer sense of glee.

But Baywatch will not be that film.

Special features on the Blu-ray combo pack include “Meet the Lifeguards” and “Continuing the Legacy,” while deleted and extended scenes add to the behind-the-scenes look at the stunts and training to make the film work. 

 

Adventures in Sand and Snow: An Interview with Amin Joseph (Baywatch, Snowfall)

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Amin Joseph likes a challenge.

Whether it’s going toe-to-toe with a former WWE Champion in Baywatch or delving into a character drama like Snowfall, Joseph seems to thoroughly enjoy being pushed in ways that further him as an actor.

Says Joseph, “[They’re both] completely different.  I still bring my sensibilities to things so it always feels like a continuation of my craft and whatever I bring to each project.”

When offered the role of the villainous Frankie in the reboot of the Baywatch franchise, Joseph jumped at the prospect. When asked what attracted him to the project, Joseph quickly asserts that, ultimately, it all came down to the quality of the script.

“What initially drew me to the script was that this was a different take on the original installment,” he begins.  “It skews towards comedy and action, [and] has the sexy [element, too]. It doesn’t take itself as seriously as the original. So, that was the first thing. We’re taking the franchise in a different way and everyone was kinda enthusiastic about that…  It’s not just going to be about abs and the perfect swimming form on the beach. Then, when I found out about The Rock and just how much physicality was going to be involved, I really took a liking to it.”

Playing henchman to the villainous Victoria Leeds (Priyanka Chopra), Joseph also appreciated the fact that the script broke several stereotypes in the genre as well.

“It was kinda cool working with Priyanka Chopra and [she] wasn’t the stereotypical villain.  She’s the kinda upscale villain [and I’m] not your quintessential henchmen but it is more like the Bond thing, where they’re kind of well-dressed. It’s only because of the circumstances that makes them villains at all.  To see a woman play the main villain is quite interesting too.”

Of course, one of the more unique opportunities in a film like Baywatch was the chance to square off in a fight scene with co-star Dwayne ‘The Rock’ Johnson.

“We worked on the choreography… for quite a while,” he remembers.  “It just makes sense some time to do your own stunts because you don’t have to cut away.  So, I did a lot of those stunts.  I also had a stunt performer.  I think it’s great to rely on your stunt performer to do certain things and also be a physical actor…  You don’t have to take every fall.”

Furthermore, Joseph argues that the process of developing such a scene is incredibly complex, involving everyone from screenwriters, to stunt performers and the film’s stars.  However, he also believes that the best action sequences feel natural to the script and enhance the overall story itself.

“I believe that every fight has their own choreography and tells their own story within the larger story of the film.  That’s what the writer is trying to convey,” he argues. “Then, the stunt unit comes in and tries to bring whatever that writer put on paper into the real world.  In there, there’s a lot of interpretations of how that should be seen.  Then you have the star of the film that’s probably done a hundred or more… Let’s just think about how many fight sequences Dwayne has done in his career… and I’ve done several… It’s all of these different variables.  How big is the space?  Is this a scene where we’re kicking?… All of those things together… it’s sort of like watching something organically happen even though it might seem like it would be paint by numbers.”

Of course, despite the rigorous physical challenges of his role at times, Joseph maintains that the atmosphere on set was a lighthearted and fun experience.

“It was easy.  I mean, it can’t get too hard when you’re working with beautiful people on a beach.  Who am I to complain?  (laughs) Everyone had a warm disposition and you’re working with some of the most charismatic people in the business.”

“I think they did a great job of the casting because there’s a lot of newcomers…,” he continues. “The zingers that Rock and Zac share is just a lot of funny stuff.  Even my character had some moments of levity, some comical moments.  The fact that you have that already written there and that you give us an opportunity to play in between things, it makes it all the more fun and laid-back type of experience.”

Moving on from the beaches of Baywatch, however, Joseph opted to choose a wildly different experience for his next role by joining John Singleton’s upcoming FX series, Snowfall.  Taking place in 1983, Snowfall tells the story of the rise of the crack epidemic in Los Angeles. A fictitious story in a historical setting, Joseph believes that having the option to create new narratives allows them the opportunity to explore some deeper themes.

“This story of Franklin Saint is an original story in a historical period where a lot of things ring true.  But I think it gives the story a little bit more life being able to show things that didn’t happen in one particular person’s story but to be able to expand and show how this drug [was] coming in and this drug trade sponsoring wars. To be able to embellish a bit.”

Nevertheless, Joseph also notes that the real heart of Snowfall lies within the journeys of the young families within the story, as opposed to the larger scope of the drug trade itself.

“It’s one thing to say all drug dealers are bad… but how does that look when you’re dealing with a family?… It’s just interesting to see those stories in a very small way as part of a larger story.  I think Snowfall does a remarkable job of that and I’m pretty proud of that obviously.  When I first read the pilot, I wasn’t able to see that.  It seemed like everything was compartmentalized and you see all these different sects: Israeli mobsters, CIA, etc… and to see that all come together and paint a story that feels like nobody is being demonized.  Even with the CIA, you realize the humanity of people just working their jobs and just trying to better their lives.  It’s just really interesting.”

Of course, one of the great challenges in a role like this can be inhabiting a character that you cannot always relate to their backstory or history.

“With this particular piece, the difficulty [lay] in that I was not from Los Angeles,” he reflects.  “And, being a period piece, because the audience has seen films like Boyz N The Hood, we’ve kind of seen what that stereotypical guy from South Central Los Angeles looks like and acts like—whether or not he actually acts like that or not. To start from the ground up with a character, we got to think of the history of this character.  Where did they migrate from?… What can you kind of infect into these people that gives them an authenticity, bring some things that we haven’t seen before.  Bring some specificity.”

Of course, it is also in these moments where series producer Singleton could most demonstrate his value to his crew.  Having grown up in South Central Los Angeles, Singleton’s years of experience helped him mentor his young team in ways that would help bring some authenticity to the world they were creating.

“John is a stickler. As an EP, he was always in our ear, giving us advice,” Joseph muses gratefully. “He grew up in South Central.  This is his place. I remember on my first day of shooting, John walked up to me and said, ‘Hey man, I know you’re from New York but some of my guys around here are gonna be mad if you don’t get this right.’ I was like, ‘Thank you, John.’ (laughs)… He was always around giving little details… To me, it’s almost like a treasure chest of information. You know, to have someone that really rolls around in those times.”

For Amin, despite the fact that two experiences may have been wildly diverse, both have helped him continue in his development as an actor.  In any case, both Baywatch and Snowfall have allowed Joseph to enjoy his moment in the sun.

To hear the full audio of our interview with Amin, click the link below.

Baywatch is in theaters now.

Snowfall will air on FX starting June 5th, 2017.