Movie Reviews
‘Joy’ Review: Thomasin McKenzie, James Norton and Bill Nighy Lift Netflix’s Pedestrian Drama About IVF-Pioneering Brits
It’s hard to build dramatic momentum out of scientists hunched over microscopes peering at petri dishes. Indeed, director Ben Taylor struggles to clear that hurdle in his conventional but watchable enough account of the development of what became known as in vitro fertilization. While it’s more compelling as human drama than science, the film benefits from timeliness, given right-wing efforts to curb women’s reproductive freedoms and recent moves by Senate Republicans to block a bill protecting the right to IVF. That factor, plus the very capable cast, should help Joy find an audience on Netflix, though anti-choice extremists won’t be among them.
If the production looks and sounds like a movie but plays more like dated television, the fault lies mainly with Jack Thorne’s by-the-numbers script. The writer takes Brit historical dramas like The Imitation Game as his model to map a breakthrough in 20th century medical science that gave hope to countless women unable to conceive a child. But the stodgy familiarity of the inspirational, based-on-a-true-story template gives Joy a halting rhythm that echoes the stop-start progress of the fertility treatment pioneers.
Joy
The Bottom Line Test-tube baby story is fine for tube viewing.
Venue: BFI London Film Festival (Galas)
Release date: Friday, Nov. 22 (Netflix)
Cast: Thomasin McKenzie, James Norton, Bill Nighy, Joanna Scanlan, Tanya Moodie, Rish Shah, Charlie Murphy, Ella Bruccoleri, Dougie McMeekin
Director: Ben Taylor
Screenwriter: Jack Thorne
Rated PG-13,
1 hour 53 minutes
That team is formed when Jean Purdy (Thomasin McKenzie), a nurse and future embryologist, is hired as a lab manager in the Department of Physiology at Cambridge, working under Robert Edwards (James Norton). After making initial headway with the study of human fertilization in the late ‘60s, they take their findings to obstetrician and gynecologist Patrick Steptoe (Bill Nighy), at that time considered something of a pariah by the British medical establishment for his championing of laparoscopy.
Patrick is crotchety and dismissive of their overtures at first, but Bob and Jean talk him around with their passionate belief in the project and intriguing early research. They agree to set up operations in a disused wing of Oldham General Hospital, a four-hour drive from Cambridge. Patrick warns them they will have the Church, the state and the whole world against them. “But we’ll have the mothers,” counters Bob.
As work on the project inches forward, the three dissimilar personalities — along with Muriel (Tanya Moodie), the brisk, no-nonsense senior nurse who insists on being addressed by her job title of Matron — gradually build a harmonious professional relationship.
But the focus tightens on Jean as the central figure. A churchgoing Christian cut off by her loving mother Gladys (Joanna Scanlan) when she refuses to abandon the controversial work, Jean is revealed to have a personal investment in women’s fertility issues. This becomes especially relevant for her when her unintended romance with Cambridge lab colleague Arun (Rish Shah) gets serious and he proposes, making it clear he’s eager to start a family.
One of the more enjoyable parts of the movie is Jean’s rapport with the disparate group of women signing up for the experiment, who forge a sense of community during their hospital visits. Jean’s manner of dealing with them as she administers regular hormone injections is detached and clinical at first — much like her earlier consent to have sex with Arun, on the condition that he form no attachment.
When a member of the Ovum Club, as they’ve dubbed themselves, points out that Jean could stand to work on her people skills, she immediately softens, learning to put the women at ease. It’s through those interactions that Thorne’s screenplay shows deep compassion for the many childless women yearning for a baby, grounding the drama in basic human need as much as science. There’s poignancy also in the participants’ knowledge that most of them will not get pregnant, but that they are laying the groundwork for future mothers who will.
A heated scene in which the Medical Research Council declines to provide development funding, arguing that the research will benefit only a small handful of the population, underscores Jean, Bob and Patrick’s frustration as they try to make people grasp the concept of infertility as a treatable condition.
The one-step-forward, two-steps-back pattern of positive results followed by disappointment becomes a bit static. But after Jean learns that her still estranged mother is dying, she breaks with the group, dismissing their efforts as a failure and parting on bitter terms with Bob. That allows for the inevitable resumption of work when stinging loss galvanizes Jean back into action.
The final stretch leading up to the first successful “test-tube birth” in 1978, acquires welcome notes of suspense and emotional power — the latter amplified by text at the end of the film revealing that 12 million babies have been born thanks to IVF in the decades since. We also learn that Edwards, the last surviving member of the team, was awarded the Nobel Prize for their work in 2010.
Thorne frames the story with Bob’s letter, heard in voiceover, lobbying for the inclusion of Jean’s name on a plaque at the hospital honoring the IVF pioneers. What the script doesn’t address, somewhat mystifyingly, is the decades during which Purdy’s vital contribution went unacknowledged, no doubt due to her gender and the reductive view of her role as that of a mere lab technician.
The screenplay also fails to make much of the public hostility directed at the research team. The handful of press and protestors outside the hospital shouting “Dr. Frankenstein,” a bit of graffiti and one instance in which Jean is shown receiving a hate-mail package don’t exactly solidify the idea of a wall of opposition. A TV appearance in which Bob is shouted down by an angry studio audience is more effective.
Taylor, a seasoned TV director best known for the streaming series Catastrophe and Sex Education, does a competent job with his sharp-looking first feature, even if the narrative flow is erratic. The movie leans heavily on Steven Price’s score for dramatic weight and on a very random selection of ‘60s and ‘70s needle drops for energy. Only Nina Simone’s gorgeous cover of “Here Comes the Sun” over the opening credits makes thematic sense in terms of the story’s ultimate outcome.
Fortunately, the actors lift the material. McKenzie creates an appealing contrast between Jean’s mousy voice and her grit and forthrightness, shaded with an understated vein of melancholy. Nighy brings his usual economy of means to a veteran medical professional whose formality gives way to reveal his warm, caring nature; Patrick’s approaching retirement age incentivizes him to make a difference. Norton, nerded out with glasses and Michael Caine’s old hair, has the charm and sincerity necessary to put across Thorne’s frequently hackneyed declarations — “We’re making the impossible possible,” “Everything changes from here.”
Scanlan as Jean’s mum and Moodie as Matron both make strong impressions, though even those smaller roles are not entirely spared moments of speechifying. For instance, when Jean is distressed to learn that Patrick has been performing abortions at the hospital — which were legal by that time but still strongly opposed by the Church — Matron thunders back: “We are here to give women a choice. Every choice.”
Joy may not represent the height of sophisticated storytelling, but it has the advantage of an interesting story rescued from historical obscurity. It will touch the hearts of many parents whose lives have been changed — and in the case of their children, made possible — by those ten long years of dedication that led to the IVF breakthrough.
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Movie Reviews
UNTIL DAWN Review
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot of UNTIL DAWN puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
Dominant Worldview and Other Worldview Content/Elements:
Strong humanist worldview that twists the concept of modern psychology into a supernatural hellscape with unexplained time loops and reoccurring nightmarish horror filled with excessive violence and gore, but with unexplained pagan supernatural elements (such as a storm circling a house, the appearance of more buildings, the time loop itself, and many more), the time loop perverts the laws of mortality and implies that the consequences of violence, murder, suicide, etc., don’t apply, the psychologist controlling the time loop discusses the situation with modern psychology in vague circles meant to confuse and disorient the nature of the reality in which the victims are trapped, religion or God is not explicitly discussed, but there’s an unexplained cross in front of a house that isn’t explained and a character references the belief that a possessed person cannot become possessed through contact but rather weakness of faith, and some occult content where one woman is a self-described psychic and is into “woo-woo” stuff as another character describes it, she tries to amplify her psychic abilities with help from the others by holding hands and meditation, and she often has strong feelings and seems to have a sense the others do not have, but no worship or symbols are shown, plus a girl dating a guy is said to have previously dated a girl as well as other men;
Foul Language:
At least 101 obscenities (including 62 “f” words), two strong profanities mentioning the name of Jesus, and four light profanities;
Violence:
Very severe violence and gratuitous blood and gore throughout including but not limited to dead bodies, monsters, scarred masked psychopath, stabbing, beating, and people spontaneously exploding;
Sex:
No sex shown, but a person puts on a VHS tape and a pornographic movie is heard playing briefly but not shown, and a woman is said to date a lot of people and one time dated another woman;
Nudity:
No nudity;
Alcohol Use:
No alcohol use;
Smoking and/or Drug Use and Abuse:
No smoking or drugs; and,
Miscellaneous Immorality:
A psychologist is a callous antagonist whose motives are relatively unknown beyond having a morbid curiosity that led to awful experiments and playing games with other people, he purposely keeps people trapped for no known reason other than his sick and twisted observations that end in gruesome murder and unnecessary torture.
One year after her sister Melanie vanished without a trace, Clover and her friends look to find more information about her disappearance. Clues lead them to an abandoned mining town. This place of unimaginable horrors traps them all in a horrifying time loop where they will be murdered again and again.
UNTIL DAWN is nicely shot and paced well, with believable performances, but it has a strong humanist worldview overall with some occult elements is filled with gruesome violence, gore, lots of strong foul language, and a time loop that leads to an increasing amount of horrific murder and unacceptable immoral actions for survival.
The movie begins with a woman named Melanie clawing her way through the dirt with an unknown monster chasing after her. Digging her way out, she looks up to a masked psychopath standing over her with a scythe. She begs him, “No! Please not again. I can’t!” He fatally stabs her without a thought. It cuts to the main title, and an hourglass is shown with a ticking clock sound and unsettling music.
Cut to a group pf people in a red car driving up a winding mountain, an obvious nod to THE SHINING. It’s been one year after Clover’s sister Melanie vanished without a trace. The group consists of Max, Nina, Megan, Abe, and Clover. Shortly after their mother died, Melanie had decided to start a new life in New York. Clover decided to stay, which created tension between the sisters before Melanie left.
Clover and her friends are looking for more information about her disappearance. Their last stop is the last place she was seen in a video message taken in front of a middle-of-nowhere gas station. Megan, a proclaimed psychic, wants to join hands outside and see if they can feel any mystical energy regarding Melanie. Their attempt is cut short when an RV blares its horn and almost hits them, scaring them all.
Clover goes inside the gas station for a cup of coffee while the others talk outside. Clover asks the man behind the register if he worked here last year. After confirming he’s been working there for years, she shows him a picture of Melanie from the video. He asks if she was missing and clarifies saying that Clover is not the first to come asking. When she asks if many people around here go missing, he says people “get in trouble” in Glore Valley. As their only lead, the group decides to go there and stick together.
Nervously driving to the valley in an increasingly dangerous storm, the group begins to question what they are doing. Suddenly the storm stops but is still raging behind them. They park in front of a house with a “Welcome Center” sign, with the storm circling around the area but leaving the house dry. Confused, they get out of the car and look around. Nina decides to see if there’s anyone inside so they can come up with a plan. Everyone goes in except Clover, who walks up to the strange rain wall.
Inside the house, they find a dated and dusty interior. The power and water don’t work, and they conclude that they are the first people to come there in years. There is a strange hourglass with a skull on the wall. Checking the guest book, Nina finds Melanie’s name signed multiple times, with increasingly shaky handwriting. In another room, Abe finds many missing posters with faces on a bulletin board and finds poster with Melanie’s face.
Outside, Clover thinks she sees a person in the rain. She also hears Melanie’s voice and runs after it. Concerned, Max calls after her and he pulls her back in. As Nina signs the guestbook, the sun suddenly sets and the clock starts ticking.
Inside the house now with the hourglass turned over, they try to understand what’s happening. The car is out in the rain now with someone revving the engine threateningly. Some of them go to the dark basement, where the lights don’t work. There is an eerie sense of dread as Abe goes to check out a noise, and Nina finds a scarred and masked psychopath standing in a room as the top half of Abe’s body falls to the ground.
Hearing the commotion upstairs, the others go to see what happened and Max spots the killer. They run to hide, and the apparently invincible psychopath horrifically stabs each of them as they try to fight back. The sand in the hourglass runs back, as each character returns to where they were when Nina originally signed the book (she now signs it a second time). They remember what had just taken place, and how they were all murdered. Clearly stuck in this time loop escape room situation, they will now have to figure out how to escape this terrifying hellscape as the situations get worse with every loop.
UNTIL DAWN is nicely shot and paced well, with believable performances. However, the movie has a strong humanist worldview featuring gruesome violence, lots of strong foul language, and excessive gore. The violence includes psychopathic killers, people spontaneously exploding, stabbings, kidnapping, demonic possession, and more. The frequent dying over and over in the plot puts the sanctity of life into question. It forces the characters to conduct abhorrent and unacceptable immoral actions for survival.
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