Based on the novel by Remains of the Day and Never Let Me Go author Kazuo Ishiguro, Klara and the Sun is a dark comedy set in a dystopian future in which the Internet has been abolished, children's intelligence can be medically enhanced (called "lifting"), and Artificial Friends can be purchased as playmates.
Jenna Ortega stars as Klara, a first generation, solar powered AF that is chosen by a teenager named Josie (Mia Tharia), much to the chagrin of Josie's mother, Chrissie (Amy Adams), who'd prefer to get Josie a newer, fancier model. Josie and her mother live in the country, surrounded by wheat fields, where Klara soon learns that the "lifting" procedure Josie has undergone has left her deathly ill. Klara, who worships the sun like a deity, believes the sun will be able to cure Josie, much like it gives life to Klara every day, and tries to make that happen.
Jenna Ortega has a face made for the movies; she's captivating. The parts of Klara and the Sun that do work, work largely because of her. She projects Klara's wide-eyed naivete and earnestness instantly, and you want her to get everything she wishes for.
Taika Waititi may not seem the obvious choice to adapt a novel that is not overtly comedic, but he is familiar with fantasy worlds, having directed two Thor movies, and the vampire comedy What We Do In the Shadows. And the world in Klara is definitely visually intriguing, like a mix between Blade Runner, Babe, and Barbarella.
But the humor Waititi tries to inject into the story often feels out of place, even when it is undeniably funny. A party scene in which a bunch of snooty "lifted" kids bully Klara and Josie includes a memorably unhinged performance from Harry Greenwood. Natasha Lyonne is also delightful (as always) in her woefully small role.
But as much as the humor was enjoyable, it never melds well with the film's more emotional tone, which also never feels truly genuine. Klara and the Sun strives to bring its audience to laughter and tears, but only barely succeeds at half of that.
Wicker is another movie about a fantasy world and an artificial "friend," though in this case, the friend is a lot...friendlier, and the movie manages to balance the comedy and drama a lot better.
Set in an unspecified land, and vaguely medieval past that resembles something out of a Grimm fairytale, Wicker stars Olivia Coleman as the Fisherwoman. The town she lives in often teases her because of her persistent fishy smell, and her spinster status, so one day she commissions Basket Weaver (Peter Dinklage) to make her a husband. Which he does. Out of wicker.
The Wicker Husband (Alexander Skarsgård) ends up being sentient, helpful, and very sexual. This leads to a lot of envy and strife within the village, as they begin to question their own relationships and lots in life. This is especially true of the Tailor's Wife (Elizabeth Debicki), who practically vibrates with jealousy.
When the trailer premiered a few months ago, it went a little viral, and I can imagine quite a few will decide to check out the movie purely based on that. Yes, there are multiple scenes of the Fisherwoman and the Wicker Husband getting it on, though those scenes are played more for laughs than arousal (unless, of course, your kink is wicker).
And the wicker effects are very impressive, especially knowing the majority were practical, with Skarsgård wearing facial prosthetics and an entire wicker suit throughout the film. He's still very Skarsgårdian under all that, so it's perfectly believable the Fisherwoman would immediately fall for him.
I'll basically watch anything Olivia Coleman is in. She brings a kind of effervescence to every role, even when she's playing a sad sack, which she is for much of Wicker. The movie is best when it's focused on her and her journey, and less engaging when it gets enmeshed with the townsfolk. But it's probably true I will come away from any Olivia Coleman movie wishing there had been more of her in it.
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