Posted in Film Review

One Mann’s Movies Film Review: The Post (2018).

Landing the Hindenburg in a Thunderstorm.

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What a combination:  Streep, Hanks, Spielberg, Kaminski behind the camera, Williams behind the notes. What could possibly go wrong?

Nothing as it turns out. After, for me, the disappointment of “The BFG” here is Spielberg on firm ground and at the height of his game. 

It’s 1971 and the New York Times is in trouble for publishing what became known as “The Pentagon Papers”: a damning account of multiple administration’s dodgy dealings around the Vietnam War, put together by Robert McNamara (Bruce Greenwood, “Star Trek: Into Darkness“) and meant for “posterity” – not for publication! Watching from the sidelines with frustration at their competitor’s scoop are the Washington Post’s editor Ben Bradlee (Tom Hanks, “Bridge of Spies“, “Inferno“) and the new owner Kay Graham (Meryl Streep, “Florence Foster Jenkins“, “Suffragette“). With immaculate timing, Graham is taking the paper public, so needs the newspaper embroiled in any sort of scandal like a hole in the head. But with the US First Amendment under pressure, will Graham and Bradlee put their business and their freedom at risk by publishing and being damned?

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Bradlee (Tom Hanks) and Graham (Meryl Streep) in the Washington Post’s newsroom.

Both of the leads play characters that are quite strikingly out of character from their normal roles. 

In a seamingly endless run of ‘kick-ass’ women in the movie driving seat, here I expected Streep to be in full “Iron Lady” mode, but in fact she starts the film as quite the opposite: nervous, timid, vascillating. For although the story is about “The Washington Post” and “The Pentagon Papers”, the real story is about Graham herself (Liz Hannah’s script is actually based on Graham’s autobiography). In many ways it’s about a woman, in a male world, overcoming her fear and finding her own voice. As has been demonstrated in many recent films (“Hidden Figures” for example) the working world for woman has changed so markedly since the 60’s and 70’s that it’s almost impossible to relate to these chavenistic attitudes. Graham is repeatedly downtrodden as “not good enough” by her underlings within earshot, and then thanks them “for their frankness”. When the women folk retire at dinner, to let the men-folk talk politics, Graham meekly goes with them. Even her father, for God’s sake, left the newspaper not to her but to her (now late) husband! It’s no surprise then that she is coming from a pretty low base of self-confidence, and her journey in the film – as expertly played by Streep – is an extraordinarily rousing one.

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The real deal: Ben Bradlee and Kay Graham.

Hanks, normally the guy you’d most like to invite round for dinner (@tomhanks if you happen to be reading this sir, that’s a genuine invitation… we make a mean lasagne here!) also plays somewhat outside of his normal character here. As Bradlee, he is snappy, brusque and businesslike. Although I don’t think he could ever quite match the irascibility of the character’s portrayal by Jason Robards in the classic “All the President’s Men” – who could? – its a character with real screen presence.

The similarities with Alan J Pakula’s 1976 classic Watergate movie – one of my personal favourites – don’t stop there. The same sets that were once populated by Redford and Hoffman are gloriously reproduced with Spielberg and Janusz Kaminski delivering great tracking shots through the newsroom. (Watch out for Sacha Spielberg – daughter of Stephen and Kate Capshaw – who also turns up there delivering a package).

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The scoop revealed: Odenkirk, Hanks and David Cross get the low-down.

The supporting cast includes Sarah Paulson (so memorable in “The Trial of O.J. Simpson”) as Bradlee’s wife Tony, Bradley Whitford (“The West Wing”, “Get Out“) and Tracy Letts (“The Big Short“) as two of Graham’s board advisors and Jesse Plemons (“The Program“, “Bridge of Spies“) as the lead legal advisor. Particularly impressive though is Bob Odenkirk (“Breaking Bad”) as Ben Bagdikian, Bradlee’s lead investigative reporter on the case: all stress, loose change and paranoia in his dealings with the leaky Daniel Ellsberg (Matthew Rhys).

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Bagdikian (Bob Odenkirk) ordering a drink for himself and his travelling companion.

In a memorable piece of casting Richard Nixon is played by…. Richard Nixon. Although a silluohetted Curzon Dobell stalks the Oval office, the ex-president’s original phone recordings are played on the soundtrack. (There, I knew those recordings would be useful for something… thank heavens he kept them all!) 

The film also demonstrates in fascinating style the newsprint business of yesteryear. When I click a button on my PC and a beautifully laser-printed page streams out of my Epson printer, it still seems like witchcraft to me! But it is extraordinary to think that newspapers in those days were put together by typesetters manually building up the pages from embossed metal letters laboriously slotted into a frame. Brilliantly evocative.

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Ellsberg (Matthew Rhys) takes a risk.

If Spielberg has a fault, it is one of sentimentality – something that is pointed out in Susan Lacy’s superb HBO documentary on Spielberg (something I have yet to write a review on, but if you like Spielberg you should definitely seek out). Here he falls into that trap again, with an unnecessary bedroom scene between Graham and her daughter tipping the screenplay into mawkishness. It’s unnecessary since we don’t need the points raised rammed down our throats again. It’s something repeated in a rather bizarre final scene with Graham walking down the steps of the supreme court with admiring woman – only woman – watching her. These irritations tarnish for me what could have been a top-rated film.

But the movie is an impressive watch and older viewers, and anyone interested in American political history will, I think, love it. The film, especially with its nice epilogue, did make me immediately want to come home and put “All the President’s Men” on again… which is never a bad thing.  Highly recommended.

Fad Rating: FFFFf

 

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Posted in Film Review

One Mann’s Movies Film Review: The Commuter (2018).

“This train is freaking me out”.

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“The Commuter” is not a good film. You know that I’m not a prude about action films: “Die Hard” is one of my all time favourites and I even gave this actor/director combo’s previous outing – “Non-Stop” – a rather generous three Fads. But like many of my commutes, this is a hundred minutes of life that I won’t get back again.

Liam Neeson (“A Monster Calls“, “Taken 3“) plays Michael MacCauley an insurance salesman (no, I’m not making it up) who of course used to be a police officer with a certain set of skills. With advancing years, a couple of mortgages to keep up and a son about to go to college, he is financially rather exposed.

 

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“Giver me a sausage roll off the trolley…. NOW damn it”.

When a bad day turns worse, the commuting MacCauley is approached by a mysterious woman (Vera Farmiga, “The Judge“, “Up In The Air”) who offers him a financial bail-out for doing “just one small thing”. No, it’s not for sex in the toilet… it’s to use his familiarity with the train and its normal passengers to find the person that ‘doesn’t fit there’. For there is a lot at stake and MacCauley is drawn into a perilous game where his own life and the lives of his son and wife Karen (Elizabeth McGovern, “Downton Abbey”) are put at risk. 

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Vera Farmiga has a proposition for Liam Neeson.

What the inexperienced writers (Byron Willinger, Philip de Blasi and Ryan Engle (“Non-stop”)) were clearly shooting for was a Hitchcockian “ordinary man in deep-water” style flick of the James Stewart “North by Northwest” variety…. but they really miss this by a mile. With the 65 year old Liam Neeson – here playing 60 – performing acrobatics on, under and across an express train, belief is not just suspended – it is hung drawn and quartered! The action is just ludicrously unrealistic.

Unfortunately, Neeson – although still looking remarkably good for his advanced years – is increasingly is starting to look like Roger Moore in “A View to a Kill”:  its time to hang up the ‘action hero’ coat and focus on more character acting pieces (this was the man who gave us Oskar Schindler after all).

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A chain defies all the laws of physics… train guard Colin McFarlane tries to help Neeson avoid disaster. A green screen is obviously not evident!

The plot also has more holes than a moth-eaten jumper. Omnipotence of the villains is evident, but never explained, and while they are fiendishly clever in some aspects they are face-palmingly stupid about others. (No spoilers, but the threat to MacCauley’s family is mind-numbingly foilable).

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It was fairly obvious that Obi Wan Kenobi was out of place on the train. No.. of course not… this was just MacCauley’s commuting pal Walt (Jonathan Banks)

A ‘major event’ at the end of reel two (if you’ve seen the spoilerish trailer you’ll know what this is) leads – notably without any ‘consequence’ – into a completely ridiculous final reel that beggars belief. It also includes a “twist” so obvious that the writers must have assumed an IQ of sub-50.

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What’s the great Sam Neill (“Jurassic Park”) doing in this mess?

This is a film that melds “Taken”, “Non-stop”, “Unstoppable”, “Strangers on a Train” and – most bizarrely and cringe-worthily – “Spartacus” to create a cinematic mess of supreme proportions. I put director Jaume Collet-Serra’s last film – “The Shallows” – into my Top 10 films of 2016. He’ll be lucky if this one doesn’t make my “Turkeys of the Year” list for 2018.

Avoid!

Fad Rating: Ff.

(Multiple spoilers in this trailer… you have been warned).

 

 

Posted in Film Review

One Mann’s Movies Film Review: Darkest Hour (2018).

Not buggering it up.

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As Doctor Who repeatedly points out, time is most definitely a tricksy thing. As I think I’ve commented on before, the events of 1940-45 are not in my lifetime but were sufficiently fresh to my parents that they were still actively talked about… so they still appear “current” to me. But I find it astonishing to realize that to a teen viewer this film is equivalent in timeframe to the sinking of the Titanic!  #ancienthistory! So I suspect your connection to this film will be strongly affected by your age, and that was definitely reflected in the average age at my showing which must have been at least 60.

It’s 1940 and Western Europe is under siege. Neville Chamberlain (Ronald Pickup, “The Second Best Exotic Marigold Hotel“) is the Conservative Prime Minister but is voted out of office in an attempt to form a grand coalition government with Labour leader Clement Atlee (David Schofield). Despite appearing a shoe-in for the role, Viscount Halifax (Stephen Dillane) turns it down, thinking that his alternative (and bête noire) would drink from the poisoned chalice and be quickly be out of his (and Chamberlain’s) hair. For that alternative choice is the volatile and unpredictable Churchill (Gary Oldman), grudgingly invited into the job by King George VI (Ben Mendelsohn, “Rogue One“). With the Nazi’s bearing down on the 300,000 encircled troops at Dunkirk, and with calls from his war cabinet to capitulate and seek terms of settlement, this is indeed both Churchill’s, and the country’s, ‘darkest hour’.

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“Up yer bum” – Churchill needs some practice at the proper V-sign for the papers.

Despite the woeful lack of historical knowledge among today’s youngsters, most will be at least aware of the story of Dunkirk, with many having absorbed Christopher Nolan’s film of last summer. This film is almost the matching bookend to that film, showing the terrifying behind-closed-door events that led up to that miracle. For it was terrifying seeing how close Britain came to the brink, and I’m not sure even I really appreciated that before. While this might have been a “thriller” if it had been a fictional story, we well know the outcome of the story:  but even with this knowledge I still found the film to be extremely tense and claustrophobic as the net draws in around Churchill’s firmly-held beliefs.

Gary Oldman’s performance is extraordinary, and his award nominations are well-deserved. We have grown so used to some of his more over-the-top Russian portrayals in films like “Air Force One” and last year’s (pretty poor) “The Hitman’s Bodyguard” that it is easy to forget what a nuanced and flexible actor he is. Ever since that “No, surely not!” moment of that first glimpse of the film’s trailer, it has almost been impossible to ‘see’ Oldman behind the brilliant make-up of the character (Kazuhiro Tsuji gets a special credit for it). But his eyes are in there, and there are some extreme close-ups (for example, during a bizarre and tense phone call with Roosevelt (David Strathairn)) when you suddenly see “There you are!”. 

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The supportive wife – Clemmie (Kristin Scott Thomas) gives Winston (Gary Oldman) a hug.

While I have nothing against Brian Cox as an actor, I far prefer the portrayal of Churchill on show here compared to last year’s “Churchill“: true that that film was set three or four stressful years later, but Cox’s Churchill was portrayed as an incompetent fool, an embarrassment to the establishment that have to work around him. Oldman’s Churchill is irascible, unreasonable, but undeniably a leader and a great orator.

Mirroring “Churchill” though, the action is seen through the eyes of Churchill’s put-upon secretary, here played delightfully by Lily James (“Downton Abbey”, “Baby Driver“) who perfectly looks and sounds the part. The character is more successful than that of Ella Purnell’s Garrett in that she is given more room to develop her character and for the audience to warm to her. Oldman is getting all the kudos, but Lily James really deserves some for her touching and engaging performance here.

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Perfectly cast: Lily James as Churchill’s secretary Elizabeth Layton.

Also in Oldman’s shadow is the always marvelous Kristin Scott Thomas (“Four Weddings and a Funeral”, “The English Patient”) as Clemmie Churchill, expressing all the love and frustration associated with being a long-suffering wife to an over-worked husband in the public service.

At the pen is “The Theory of Everything” writer Anthony McCarten, and I’d like to say its a great script but with most of the best lines (“a sheep in sheep’s clothing” – LoL) coming from Winston himself it’s difficult to tell. Some of the scenes can get a bit laborious and at 125 minutes – though not long by any means – the script could still perhaps have had a nip and tuck here and there.

Where some of this time is well spent though is in some sedate shots of London street life, across two separate scenes panning across everyday folk as the stresses of war start to become more evident. This is just one of the areas where director Joe Wright (“Atonement”, “Pride and Prejudice”) shows considerable panache, ably assisted by the cinematography of Bruno Delbonnel (“Inside Llewyn Davis“): a boy closes his telescope-fingers around Churchill’s plane; a bomb’s eye-view of the beleaguered Brigadier Nicholson in Calais; and – very impressively – the smoky imperiousness of the House of Commons set.

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An atmospheric chamber: the recreation of the wartime House of Commons is spectacular (with production design by Sarah Greenwood (“Anna Karenina”, “Atonement”)).

And most-importantly Wright delivers what Christopher Nolan couldn’t deliver in “Dunkirk“: a properly CGI’d vista of hundred of small boats crossing the channel to Dunkirk. Now THAT is a scene that Kenneth Branagh could justly have looked in awe at!!! 

There are a number of scenes that require disbelief to be suspended though: the biggest one being a tube train ride – very moving and effective I must say – but one that features the longest journey between any two stations on the District Line than has ever been experienced! 

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One stop on the District Line via Westminster…. via Harrow-on-the-Hill!

So this is a great film for really reliving a knife-edge moment in British history, and is highly recommended particularly for older viewers.  If I’m honest though, between “Darkest Hour”, “Churchill” and John Lithgow’s excellent portrayal in “The Crown” I’m all over portrayals of the great man for a few years.  Can we please move on now Hollywood?

(I think I’ve been a bit mean with this scoring at FFFf, so I’m post-publish upgrading it a notch).

Fad Rating: FFFF.

 

Posted in Film Review

One Mann’s Movies DVD Review: Wind River (2017).

Survive or Surrender.

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Of all of the movie released I missed during 2016 (typically due to work commitments) this one was one near the top of my list. I’m a fan of both Jeremy Renner and Elizabeth Olsen, and the setting and story to this one really appealed.

And now I’ve caught up with it, I am not disappointed… certainly one that would have muscled its way well into my top 20 of last year.

Wind River is an Indian reservation in Wyoming (although its filmed in Utah).  Natalie (Kelsey Asbille), a young Indian teen, is found in the snow raped and murdered by local tracker Cory Lambert (Jeremy Renner, “Arrival“, “Mission Impossible: Rogue Nation“). The local police, led by Ben (Graham Greene), are surprised when a passionate but naive young FBI officer – Jane Banner (Elizabeth Olsen, “Avengers: Age of Ultron“) – arrives out of a blizzard without remotely sensible clothing. So begins an investigation into who committed the crime, where local knowledge and skills are more applicable than all the CSI-knowhow in the world. 

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Banner (Elizabeth Olsen) and Ben (Graham Greene) get to work.

This film is everything “The Snowman” should have been and wasn’t. At its heart, there are some memorable relationships established. Gil Birmingham (so good as Jeff Bridges’ right-hand man in “Hell or High Water“) plays Natalie’s dad, grieving and railing against all outsiders other than Cory, who he has a deep and close relationship with. For Cory has a back-story that goes beyond just him marrying into (and now separated from) Wilma (Julia Jones), a woman from the reservation.

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Cowboys and Indians. Cory (Jeremy Renner) and Martin (Gil Birmingham) having a deep and moving discussion.

Cory himself has a role that is deep and multi-layered, and Renner is the perfect choice for it (although many scenes could have been cut and spliced into this from his – I thought really strong – Bourne spin-off “The Bourne Legacy”!). Here he has both action scenes and raw emotional scenes to tackle, and although perhaps he doesn’t quite pull off the latter to perfection, he comes pretty close. 

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“Do you wanna build a snowman?”. Cory makes a grim discovery.

Elizabeth Olsen – who seriously deserves more meaty roles like this – plays a ‘flibbertigibbet’ girl (there’s an old word that needs more airtime!) who turns out to have real internal steel. Yet another admirable female role model. #She-do!

The film also paints a vivid and intolerable picture of the dead-end nature of reservation life for many, with poor decisions as a teen (and we’ve all made those) here not being forgiven for the rest of your life. 

Written and directed by Taylor Sheridan, who also wrote “Sicario“, “Hell or High Water” and the soon to appear Sicario sequel, “Soldado”, pens some fine and memorable dialogue.  “Shouldn’t we wait for some backup?” asks Banner.  Ben replies “This isn’t the land of backup. This is the land of you’re on your own”.  It’s a film with useful tips as well, like NEVER, EVER go for a run in seriously sub-zero temperatures!  (As I’m penning this review in sub-zero Canada at the moment, this is timely advice. #skiptheruntoday.)  Sheridan won a Cannes Film Festival award as director for this, but arguably it’s a shame the script has been largely overlooked for the major awards so far.

And that land is one of the stars of the film as well. Filmed around the town of Park City in Utah, it’s gloriously snowy countryside with impressive mountain scenery.   

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Bleak but impressive, Utah is one of the stars.

My only quibble with the movie is that there are some elements of the plot that don’t quite gel properly. At various times, the heavens open and it buckets down – and I mean buckets down – with snow that must add inches to the landscape in minutes. And yet Cory can still point out tracks in the snow that were made days before? Huh?  Also (without spoilers) some elements of communications are also conveniently unreliable when they need to be.

Will this be for everyone?  While I commented that the excellent “Three Billboards Outside Ebbing.Missouri” (which shares similar background subject matter) did NOT have flashback scenes to the rape, this film does go there, and so might be upsetting for some viewers.

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Girl in Trouble. Kelsey Asbille plays the victim Natalie.

But it’s a high-class, intelligent crime thriller that takes “Mexican standoff” to a whole new level.  Recommended.

Fad Rating: FFFF.

 

 

Posted in Film Review

One Mann’s Movies Film Review: Molly’s Game (2018).

Wordy but entertaining.

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You can never accuse Aaron Sorkin of skimping on his words. Sorkin is of course the award-winning writer of “The West Wing” but on the big screen he has also written many classics:  “A Few Good Men”; “The Social Network” and “Steve Jobs” for example. Here he also makes his directorial debut in a movie about the true-life turbulent career of Olympic wannabe skier Molly Bloom.

Bloom is played by Jessica Chastain, from films such as “Zero Dark Thirty” and “Miss Sloane” (one of my films of the year last year).  Chastain’s roles as an actress are often quite cold and calculating, as suits her demeanour. As such her characters are not often easy to warm to in movies (and as such, my wife is not a fan).

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Taking the piste. Molly in her younger ski-centric role.

Here as Molly Bloom she is as equally driven as in “Miss Sloane“, but the drive is learned from her father (Kevin Costner), bullying her to be the best she can be at skiing in a highly competitive family. Forced out of the skiing business (for reasons I won’t spoil), she takes a “gap year” from law school that turns into a “gap life” after she falls into the slightly shady business of running poker nights for LA’s rich elite. It’s here that Chastain’s Bloom is able to show a gentler and more compassionate side, trying to talk some of her clients (who invariably fall in love with her) off the ledge of their gambling addiction.

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Chris O’Dowd as one of the punter’s in deep.

Sorkin’s script (based on Molly’s own autobiography, I should add) does a really nice job of cutting backwards and forwards through Molly’s timeline to drill into motivations and her mental state, and in doing so he pulls out an award-winning (or at least Golden-Globe award-nominating) performance from Chastain in the process. Also very effective though is Kevin Costner (“Hidden Figures“, “Man of Steel“), who is quietly building an impressive portfolio of supporting actor roles. Here he rather dials in his “tough and aloof guy” performance until the park bench scene (below) where he surprises in a good way.  

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Benches with wolves. Kevin Costner impressive as Molly’s hard-line father.

It’s also a blessed relief to find a decent vehicle to showcase the undoubted talents of Britain’s Idris Elba – an actor who has been woefully served by rubbish such as “Bastille Day“, rather lame sequels like “Star Trek: Beyond” or minor roles such as in “Thor: Ragnarok“.  Here he can really get his teeth into the role of Molly’s lawyer, with a multi-layered character that reveals a little – but not too much of – his back-story to leave you with intriguing questions.

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An indecisive Charlie Jaffey (Idris Elba) can make his mind up about Molly (Jessica Chastain).

So it’s a good film, but an intelligent watch that mandates your attention. The script is sufficiently dense and wordy that it requires significant concentration: this is not a “park your brain at the door” type of ‘Michael Bay film’. (As such, while it remains a recommended watch, I’m not sure it would be one that would necessarily make my DVD list for repeat watchings). 

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Michael Cera (centre) as the mysterious but powerful “Player X”; a Hollywood actor, but who is he supposed to be? (Answers on a postcard!).

But again, I must comment on what an amazing year this is turning out to be for women in film. Less #Me-too and more #She-do! Once again, here is a movie where a confident woman is firmly in the driving seat, and while powerful men try to bring her down, it is not them that succeeds. (The studio bill for talent in the past year must be a LOT less than it was the year before!  #don’tshootme  #topicalhumour #CarrieGracey).  #TimesUp.

Fad Rating: FFFf

 

Posted in Film Review

One Mann’s Movies Film Review: The Greatest Showman (2018).

This IS the Greatest Show!

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I sometimes wonder how “proper” UK film critics view films early for review. Is there a ‘special screening’ which all the film critics attend in London? The point I’m getting at is whether the collective critical opinion of a movie can be swayed by a critic leaping to their feet and wildly applauding a film like “Star Wars: The Last Jedi” or, alternatively, snorting in derision at a film like “The Greatest Showman”. For sometimes the critics seem to get it massively wrong across the board, panning a film that the general public will adore. Unfortunately, this has the effect of putting the general public off seeing it, especially in the lethargic post-Christmas period. I think here is a case in point. It’s not the best little film in the world, but as a musical crowd-pleaser it delivers in spades. 

Will you like “The Greatest Showman”? This will be dictated almost entirely by whether you are a “musicals” person or not! For “The Greatest Showman” is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40’s and 50’s than “La La Land” was. 

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Roll up, roll up. The circus cast entertain.

In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailor’s assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnum’s – now Hugh Jackman (“Logan“) and Michelle Williams (“Manchester By The Sea“) – are barely scraping a living. But Barnum has “A Million Dreams” and hits on the novel idea of opening an entertainment (coined “a circus” by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnum’s show is shockingly entertaining – as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnum’s endless ambition drives him to break his social ceiling by importing the “Swedish songbird”, opera singer Jenny Lind (Rebecca Ferguson, “Mission Impossible: Rogue Nation“, “The Snowman“) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.

Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.

As I’ve said, most critics have been making sniffy noises about this film. But I am not one of them…. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but it’s a musical extravaganza!  Live with it! 

Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the “shouty” end of the scale in many of the numbers. He’s joined here by fellow musicals star Zac Efron (let’s forget “Dirty Grandpa“) as the fictitious Phillip Carlyle: a socialite playwright and partner.

But the acting and singing revelation for me was Zendaya (“Spider-Man: Homecoming“) as Efron’s (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (“Rewrite The Stars”) is one of the high-spots of the film for me.

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An energetic dance. Zendaya and Efron take to the skies.

Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers “This is Me” (although she is a little ‘shrill’ for my musical tastes).

It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the “greatest singer in the world” – but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of “The Voice”). It is a bit of a shock when “the great opera singer” opens her mouth and a modern love song comes out, but once you get over that then the combination of Ferguson’s acting and Allred’s singing makes “Never Enough” one of the standout songs in the movie. (It’s been described as “a bit Eurovision” by Kevin Maher, “The Times” critic, which I can see but I don’t care! I find it marvellously moving).

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A dangerous songbird’s nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.

If you haven’t guessed it, there are some fantastic songs in this movie, written by “La La Land” song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (I’m not sure what the cut-off would be for the 2018 Oscars?). 

There’s also a lot of talent in the backroom with production design and memorable costumes. Where I’d single out particular praise though is in the choreography and the editing on show. 

Firstly, the choreography of “beats” in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music. 

Secondly in terms of the film editing, I am a sucker for clever “transition” shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others! 

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Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.

I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like “Les Miserables” and “La La Land” has set the bar high, and returning to the norm (I had the same problem with “Beauty and the Beast“) becomes noticeable and irritating to me. (Perhaps this is just me!).  

It’s certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey.  Recommended for musical fans.

Fad Rating: FFFF

 

 

Posted in Film Review

One Mann’s Movies Film Review: Three Billboards Outside Ebbing, Missouri (2018).

“Anger Begets Greater Anger”.

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What is it?  A black-comedy drama. But my fear would be that with such an ‘art-house’ title, it’s going to put a lot of people off…  (“I saw ‘Paint Drying in Jackson, Mississippi‘, and that was dull”!). But it really really shouldn’t. FOR THIS IS A GEM OF A MOVIE… and so, so entertaining that two hours just sped by.

Frances McDormand (“Hail Caesar“, “Fargo”) plays a mother – Mildred Hayes – in pain. Her daughter Angela (Kathryn Newton) has been raped, set alight and murdered (so clearly LOL territory!) After ten months and no culprit arrested, she takes things into her own hands by renting the three billboards in question and posting a message to the local police chief, Willoughby (Woody Harrelson, “War for the Planet of the Apes“).

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Willoughby sees the writing’s on the wall.

But the popular Chief Willoughby has his own problems, setting many in the town on a collision course with the feisty Mildred as tempers flare. Stoking the flames is the racist, unstable and unpredictable Officer Jason Dixon (Sam Rockwell, “Moon”). The billboard advertiser Red Welby (Caleb Landry Jones, “Get Out“) is uncomfortably caught in the middle of the battle. 

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Cricket boxes at the ready! Mildred is a lady who is not to be crossed.

In terms of the story, nothing in this film goes in the direction you expect. Willoughby’s reaction to the crisis is extraordinary… in a good way. Dixon’s reaction is also extraordinary for different reasons! Red herrings are scattered throughout the script to further set you off balance.

The film reminded me greatly of “Manchester By The Sea“, and not just because Lucas Hedges (as Mildred’s grieving and uncomfortable son) is again playing a very similar role. There is gut-wrenching drama, but diffused in the blink-of-an-eye by laugh-out-loud dialogue. Whereas “Manchester” could perhaps be described as a drama with black comedy, “Three Billboards” is probably better described as a black comedy with drama. But the comedy is dark, oh, so very dark! Some of the lines are so outrageous (both in terms of language used – very extreme – and the racial/homophobic nature of it) that you are sometimes uncertain whether you should be laughing at all. But it’s been brilliantly balanced and orchestrated.

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A troubled man. After complaining that I wasn’t a great fan of Woody Harrelson, he’s delivered (with “War for the Planet of the Apes” and this) two consecutive performances to radically change my opinion.

As I commented in “Battle of the Sexes” the Screen Actors Guild Award for “Best Ensemble Cast” is one of my favourite categories of award, and I thought that film should have been nominated (it wasn’t)!  But the ensemble cast in “Three Billboards” is another great example, and this one IS nominated!  (Hoorah!) 

For this whole town just LIVES AND BREATHES, thanks to the combined efforts of the cast: as well as the lead names, the cast includes Peter Dinklage (“Game of Thrones”) as a diminutive used car salesman; Caleb Landry Jones as Red Welby; Zeljko Ivanek as the police desk sergeant;  Amanda Warren (“mother!“) as Mildred’s put-upon co-worker and (particularly) Sandy Martin as Dixon’s wizened and cranky old mother. All are fed with great lines and scenes to bring the story alive. 

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Date interrupted. Mildred (McDormand) and James (Peter Dinklage) have a less than relaxing dining experience.

At the helm is writer/director (and London-born!) Martin McDonagh (“In Bruges”, “Seven Psychopaths”) and he delivers genius. I recently cruelly made fun of the writers of the awful “Pitch Perfect 3” for not coming up with any sort of viable plot. Here I am at the other extreme, in awe of how someone can sit down with a blank piece of paper and come out with this story, these characters and this dialogue. It would be foolish so early in the season to predict the Oscars, but here must be a great candidate for Original Screenplay.

Elsewhere I would see Frances McDormand and Woody Harrelson both as Oscar nominees for Best Actress/Actor and Sam Rockwell is surely a shoe-in for a Best Supporting Actor nomination for this…. I wonder what odds I can get for a win? Jason Dixon (is this perhaps a pun because he always keeps crossing “the line”?!) will I think be one of the most memorable characters for me in the cinema this year: a character you can despise, pity and even strangely admire at stages throughout the two hours. Something that Rockwell balances with consummate skill.

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One of the movie characters of the year…! Officer Dixon, played sublimely by Sam Rockwell.

In terms of my one criticism, the script (in my opinion) rather over-eggs the pudding in the last ten minutes, stepping over into actions I didn’t find realistic. It was a nice ending when it came, but not one I felt invested in. So I’m going to put my (rarely used) ‘5-Fad’ back in my pocket, and instead rate this one just a tad lower. But regardless of that, ignore the title and GO AND SEE THIS ONE! 

(Just a final note for those severely affected by the subject matter: while there is some significant violence in the film, the rape is not shown – i.e. there are no “flashback” scenes, apart from some – very brief – corpse photos in a folder Willoughby looks through).   

Fad Rating: FFFFf.

Note:  this is the red band trailer… contains very strong language.

 

 

Posted in Films of the Year

One Mann’s Movies – The Top Three Turkeys of 2017.

OK, so “Turkey” is putting it a bit strongly. These are my top movie disappointments in the cinema year. Some of these ARE truly awful, but the last one is just plain disappointing given my expectations of the director. 

In no particular order then….

Turkey One: Table 19.

Table 19 posterA film that is supposed to be a comedy but has very few laughs per hour. Most of these come from Stephen Merchant. Worse than that, the film is full of such vindictive and unlikeable characters that if a nuclear blast were to whip through the hotel unexpectedly, then the world would be a better place. 

Hateful.

Turkey Two: Pitch Perfect 3.

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Probably the last film I get to see in 2017 is further away than is imaginable from “A Monster Calls” which was about the first film I saw in 2017. Lazy, witless, plot-less and where even the song and dance numbers lack the verve of the first two films.

A complete waste of celluloid.

Turkey Three: Dunkirk.

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A controversial entry I’m sure! I’ve seen some people name this as their “Film of the Year”. But for me, I just didn’t get it. What should have been an awesome war spectacular with thousands of troops being rescued by hundreds of English boats from the jaws of defeat, went off (for me at least) like a damp squib. “No CGI” was the boast; “no spectacle whatsover” I thought. 

It wasn’t a TERRIBLE film. (Even Harry Styles, in his debut, equipped himself well). If this was some nobody director, I might give it FFf (as I did) and resign it to the forgotten masses of the year with “47 Metres Down”. The reason this makes my turkey list is that this was directed by the great Christopher Nolan – he of “Inception”, “Interstellar” and the great Batman trilogy. And this was supposed to be his opus magnum that he’d been working on for years.

OK… we may need to differ on this one! 


 

Have a very Happy New Year and here’s to a great 2018 at the movies!

Posted in Films of the Year

One Mann’s Movies – The Best Films of 2017.

OK, it’s that time of year for you lot out there to get really cross with me as I give you my run-down of what I consider to be the best films of 2017 (and your choice isn’t in there!)  

I was going to start this review by commenting that the volume of quality films has been lower this year than in previous years, but in trying to come up with a list of just ten I have had to chop out a whole heap of films that I wanted to get into the list:  “Get Out“; “Lion“; “Hacksaw Ridge“; “Hidden Figures“; “Hell or High Water“; “The Big Sick“; “mother!“; “Blade Runner 2049“; “Thor: Ragnarok“; “Their Finest“.

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Not quite making the cut this year. (And in no particular order).

All are great films, in their own way, that I would gladly settle down to watch of an evening. But a line needs to be drawn and this is my line!


Number 10 – Baby Driver.

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Hmm… well, the recent revelations about the alleged sexual shenanigans of Kevin Spacey have rather taken the edge off this film (the DVD distributors must be fuming) so I thought long and hard about including this in my list at all. But, despite the additional allegations of Spacey bullying his co-stars on set and generally not being a nice person, the movie remains as an excellent piece of escapist entertainment by Edgar Wright, set to a banging soundtrack of rock classics. Based on the proverb that we shouldn’t let one bad apple ruin the whole barrel, I’ve included it as my Number 10 film.

Having watched it again, as a crime-caper the plot is a bit lightweight and the characters a little two-dimensional, but the music-infused car chases, action and humour work to a ‘T’. 

Number 9: Colossal.

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At Number 9, a truly bonkers story of monsters in Seoul and their link to Hathaway’s character in a small US town thousands of miles away. This is just such a surprising film, veering as it does from whimsy to pitch-black comedy/drama. Hathaway is great and Sudeikis shows his acting chops compared to the usual light comedy we are used to seeing him in.  

I suspect this might be a real “Marmite” movie… but it certainly surprised and delighted me.

Number 8: American Made.

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Cruise is not always to everyone’s taste, but here he is exceptional playing the real-life CIA helper (and self-helper) Barry Seal. Directed with great energy by Bourne-director Doug Liman, it’s a roller-coaster of comedic scenes that are both unbelievable AND based on the truth.

The stunning Sarah Wright also takes a special award for the best plane-sex scene of the year!   

Number 7: Manchester By The Sea.

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Manchester by the Sea is slow, superbly acted, gloriously photographed, funny, and utterly devastating. It’s undoubtedly one of the great films of the year, justly earning Casey Affleck his Best Actor Oscar and Kenneth Lonergan his Best Screenplay Oscar. It would perhaps be higher up in my top 10, but it’s one of those films that I think “do I want to see this again?” and then I invariably think of something less heavyweight I’d rather watch. Which is a shame: I must force myself soon. 

Number 6: Miss Sloane.

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In a year championing ‘girl-power’ in the movies (topped off by “The Last Jedi“, which didn’t make my list), this memorable US political thriller grabs my number 6 slot with Jessica Chastain  (“The Martian“, “Interstellar“) playing the most aggressively self-assured woman in the movies in 2017. Chastain has a great supporting cast with John ‘very busy in 2017’ Lithgow, Mark Strong and Gugu Mbatha-Raw. Directed by Englishman John Madden and with a whip-smart debut script by Jonathan Perera it’s an exciting rollercoaster of a plot where you don’t see the twists and turns coming. 

Number 5: Logan.

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WHAT??  A Marvel movie makes a One Mann’s Movies Film of the Year? Is the world about to end?  I’ve not been a great fan of Marvel films, but they have rather got their act together this year at the lighter more-comic end of the spectrum, with “Guardians of the Galaxy 2” maintaining the standard of the first film and “Thor: Ragnarok” – one of the best comedy films of the year – nearly making my Top 10.

Here though we head to the other end of the Marvel spectrum with a superbly gritty, dark and ultra-violent X-Men film that just blew me away. Hugh Jackman and Patrick Stewart ably demonstrate what happens when super-heroes age and start to lose control of their super-faculties. Jackman; Stewart; Eriq La Salle; Stephen Merchant: all deliver great ensemble performances with Dafne Keen (to appear in 2018 in the lead role of “Ana” with Andy Garcia) being particularly feral as the young girl with special powers.

Number 4 – War for the Planet of the Apes.

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A real summer blockbuster!  I’ve been a big fan of the Apes reboot, and while number 2 of the series (“Dawn of…“) was a bit of a back-step from the original classic (“Rise of..”) here we came slap bang back into form for a fitting finale to Caesar’s story arc. Some of the scenes in this film… the desolate and abandoned “Holidays are Coming” Coke lorry in the woods for example – stick in the mind. Throw in awesome Andy Serkis mo-cap; an entertaining PoW escape sub-plot; a comic character called Bad Ape (Steve Zahn) who never quite crosses over into ‘Jar Jar’ annoyance-territory; Woody Harrelson as a bonkers bad guy; and with a surprise twist in the denouement, I found this to be 100% entertaining. 

Number 3 – Victoria and Abdul.

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What a national treasure Judi Dench is! Here she reprises her role as Queen Victoria telling a bizarre true story of her shockingly inappropriate relationship with Indian manservant Abdul Kareem (Ali Fazal). Tim Pigott Smith makes his last screen performance as the head of the royal household being prodded on towards dark deeds by the Queen’s concerned son, the Prince of Wales (Eddie Izzard). 

Director Stephen Frears and writer Lee Hall combine to deliver a film full of warmth, comedy, drama and pathos. A delight, especially for older viewers who are not into Marvel or DC action.

Number 2 – A Monster Calls.

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One of the first films I saw in 2017 and a memorable one. J. A. Bayona (whose “Jurassic World: Fallen Kingdom” arrives next summer) delivers a fairy tale with edge about a young boy – Lewis MacDougall in a powerful performance – living in very trying times but visited each night at the same time by a tree monster (Liam Neeson, “Non-Stop“). The film also has a heart-breaking performance by Felicity Jones (“Rogue One“) and a supporting turn by Sigourney Weaver (“Alien”, “Ghostbusters”). 

But it’s in some of the technical categories that the film excels, with outstanding sound design and superbly impressive “impressionist” animations, reminiscent of the “three brothers” animations from “Harry Potter and the Deathly Hallows”. The film has won a host of European film awards, but I’d love to see it nominated in the mainstream Oscar and BAFTA awards coming up.

Highly recommended for older kids and adults – but don’t be fooled by the wrapping… it’s definitely not happy material for younger children!  If you don’t have a weep at the end of this one you’re certifiably non-human!

Number 1 – La La Land.

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While “Collosal” and “American Made” might have passed you by, there’s little chance that you are not aware of this one! There’s a phrase that applies here… “Familiarity breeds contempt”. The fact that this film got such Oscar hype (including the most comical Oscar award announcements in history) combined with the fact that my grandson insists on the soundtrack being played EVERY SINGLE TIME we take a car journey means that it has rather over-saturated my consciousness this year. 

But notwithstanding this, if I were to come back to any of the films in this list in 20 years time, this is the one that would still stand out for me. Damien Chazelle delivers a gloriously nostalgic throwback to the heyday of screen musicals with an Oscar-winning Emma Stone and a charismatic Ryan Gosling in fine form together again. In the engine room is the marvellous score – also Oscar winning – by Justin Hurwitz.

This is a good film. The last eight minutes turns it into a great film and for that reason it grabs my top slot of “Film of the Year 2017”. 

 


 

So that’s my pick for 2017. Agree or disagree?  What should have been here?  Please comment!  

Also check out the companion post for my three ‘turkeys’ of the year… one might surprise you! 

Posted in Film Review

One Mann’s Movies DVD Review: The Trip To Spain (2017).

Moore should be less.

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“The Trip to Spain” is the third in the series of ‘culinery travelogue’ TV programmes by Steve Coogan (“Philomena“) and Rob Brydon (“Gavin and Stacey”). The pair travel by car through Spain sampling the local delicacies while constantly trying to self-salve their fragile egos and trying to out-do each other with comedy spiel. This is of course not a “documentary” as such, since the pair are playing up to their extreme alter-egos (presumably!) of what people expect them to be like. Actors playing their family, agents, etc. call them at various points on the trip to either pour oil on troubled waters or (more often) add fuel to the fire.

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All ashore. The guys arrive in Santander.

The six original half hour TV episodes have been edited down into a feature length journey. And this is part of the problem. Repetition that can be forgiven and forgotten about when you see an episode every week, but can become tiresome when forced on you as a continuous stream.

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Brydon drinks; Coogan doesn’t; both impersonate.

In this case the repetitive content delivered by Coogan and Brydon are their (normally very good) impersonations of famous stars (most of which it has to be said are British so won’t resonate with a non-UK audience). Roger Moore in particular gets trotted out INTERMINABLY and while some of it is extremely funny – an exchange between Moore as Bond and Scaramanga had me snorting tea out of my nose – it all gets too much by the end.

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Coogan in mid-Jagger.

Appearing to recognise this need for more variety, additional characters from Steve’s team join them for a part of their trip – Emma (Clare Keelan) and Yolanda (Marta Barrio). Unfortunately, the additions are just plain dull: they just sit alongside Coogan and Brydon and laugh at their impressions, adding nothing. Now if they had been a couple of good female impersonators, like Ronni Ancona and Jan Ravens, that could act as a foil to the male duo, THAT would have been entertaining.

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Coogan and Brydon strides the local streets.

The film also suffers from “Top Gear Challenge” disease. The problem with filming a car journey through Spain is that you know there are not twenty film crews deployed along the route to do the filming…. all of the cameras are carefully set up in advance with someone on a walkie-talkie saying “OK, Steve – coffee down, we’re ready for you to drive over the hill now”. So something that should feel natural and documentary-like feels 100% the opposite.

Tilting at windmills. Brydon and Coogan as Sancho Panza and Don Quixote.

So… if you like Coogan and Brydon, and especially if you liked their Northern England and Italy “trips”, then you will get more laughs out of this one. But I think the concoction needs to be put through the blender and re-heated before it comes out for a fourth outing.

Fad Rating: FFF.