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Non-Review Review: The High Note

The High Note doesn’t quite manage to hit the peak that it title suggests, but it hits most of the notes that it needs to.

The basic plot of The High Note concerns a personal assistant named Maggie who works for Grace Davis. Davis is a singer in the twilight years of her career, working hard to remain relevant and to stay afloat in an industry that seems ready to cast her aside. Maggie is convinced that her boss (and her idol) is capable of delivering so much more than her management and her record label expect of her, but finds herself trapped in an uphill battle to prove that she has a vision that is worth listening to.

She’s got the juice.

There are any number of obvious comparisons to be made with The High Note. The classic underappreciated-working-stiff-is-finally-recognised-as-a-prodigious-talent narrative unfolding against a Hollywood backdrop obviously evokes any of the myriad (official and unofficial) versions of A Star is Born. However, the emphasis within that template on a demanding ageing female star and the younger woman working under her feels like it is somewhat carried over from Nisha Ganatra’s previous film, Late Night.

The High Note is tremendously predictable, but it’s to the credit of Flora Greeson’s screenplay that the movie understands this. There are very few surprises nestled in the story, but The High Note leans into that. It is a surprisingly and endearing gentle movie about the path to stardom, one that keeps its stakes low and which tempers its formula with just enough self-awareness to avoid feeling stale or rehashed. The High Note is solid, sturdy and appealing – even if it seems to reflect the Grace Davis that audiences see, rather than the one that Maggie aspires towards.

Tune in for more…

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Non-Review Review: The Assistant

The Assistant is a quiet and simmering examination of complicity.

The story unfolds over the course of a single day in the life (mostly the office) of Jane. Jane is the eponymous assistant, working at an independent film company in New York as the right-hand woman to a(n in)famous producer with an explosive temper and monstrous appetites. Kitty Green’s film follows Jane from her early morning Uber ride into work to the single muffin that she allows herself at the deli on the way home, keeping an intense and claustrophobic close-up on lead actor Julia Garner.

Garnering praise.

The Assistant arrives with enough weight that the audience knows what it is about even before the film clearly articulates it. The Assistant is transparently a #metoo movie and the unnamed and largely unseen (but very clearly heard and very strongly felt) producer is very plainly a stand-in for convicted sexual offender Harvey Weinstein. This allows The Assistant a great deal of freedom. Because the audience comes to the film with that assumed knowledge, Green’s script and direction are able to peddle in ambiguity and tease the veil of plausible deniability.

The beauty of The Assistant lies in the way that both the audience and Jane (and seemingly everybody else) knows what is happening, but keep their head down and their focus elsewhere. It’s a story about looking away so that one might see no evil and the noise that people make so that they might hear no evil. It’s an anxious, ominous, suffocating study of the constant smoothing done at the margins of these sorts of horror stories.

Dial it back.

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