Posted in 2010-2019, Film Review

Cats (2019)

Image is property of Universal, Working Title and Amblin Entertainment

Cats – Film Review

Cast: Francesca Hayward, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, James Corden, Ian McKellen, Taylor Swift, Rebel Wilson

Director: Tom Hooper

Synopsis: A group of Cats known as the Jellicles come together to make a decision known as “the Jellicle choice,” a decision that will give one lucky cat an exciting new opportunity to start life anew….

Review: It was almost an event unto itself. Back in July this year, a trailer landed onto the internet, but this was no ordinary trailer, it was something much more horrifying, this being the trailer for Cats. Quickly becoming this overnight, much talked about sensation, but for all the wrong reasons. The collective claws of the internet came out and the film became the subject of much ridicule and being the butt (or should that be tail) of so many internet jokes, it seemed completely dead on arrival. It should come as no surprise to learn that it is a complete furry cat-astrophe.

The plot, if you can really call it that, is focused on a group of cats known as the Jellicle cats. An abandoned cat, Victoria (Hayward) is found by the group and they take her in. Every year, the leader of this group must make the Jellicle choice, a decision which will give one lucky cat the chance to start a new life. The big problem is this “plot” only comes into view about two thirds of the way through the film. For the first two thirds, a bunch of rather famous people take it in turns to sing a song. It almost feels screenwriter Lee Hall and writer/director Tom Hooper were playing with a proverbial ball of string before they realised they needed to have a plot, of some kind.

You’ll never look at your cat the same way ever again…

The only actor who can really take any sort of credit for their performance is that of newcomer Francesca Hayward, as she shows glimpses of her talent as a singer and a performer. Yet, in a cast filled to the brim with so much talent, you expect so much better considering the calibre of the likes of Judi Dench, Ian McKellen and Idris Elba. The most fundamental job for a musical is to have good music, and there are a couple of strong performances to be found. Jennifer Hudson’s rendition of “Memory” is impactful and “Beautiful Ghosts” written by Taylor Swift and Andrew Lloyd Webber certainly has some touching moments about it. The rest of the music is perfectly fine, but beyond those two songs, it is all just very generic and forgettable.

But what’s unfortunately not so forgettable, is the visuals, and more specifically the look of the actors in these bizarre concoctions of “cat-suits”. While certain elements such as the fur look at least somewhat plausible, overall they most assuredly don’t look completely look like cats, but nor are they human. It is the most peculiar hybrid that is guaranteed to invade your nightmares. The very fact that at times you can quite clearly see their human fingers, and other human like features is just comically inept and extremely distracting. Seemingly no effort whatsoever has been made to modify the appearances of the actors to make them even vaguely look feline. Their hands don’t look like paws, and their human noses are extremely noticeable. It’s just a gigantic mess.

Given that such high calibre films like The King’s Speech, and the 2012 version of Les Misérables on his CV, one would really expect better of Tom Hooper to try and make this musical adaptation translate to the big screen in a manner that is not inherently horrifying. Yet in spite of some visually splendid production design, this monstrosity proves that not everything translates to the big screen. This adaptation is one that should have stayed on the scratchpad of ideas, where it deserved to remain, eventually to be scratched into oblivion where it belongs. Someone should have paws-ed for thought before green-lighting this thing, but they didn’t, and this nightmare came to fruition, which isn’t good news for anyone.

Take away Francesca Hayward’s promising performance, along with a few good songs, and there’s really not that much to salvage from this monstrosity. A furry nightmare of hellish proportions.

Posted in 2010-2019, Film Review

Star Wars: The Rise of Skywalker (2019)

Image is property of Lucasfilm and Disney

Star Wars: The Rise of Skywalker – Film Review

Cast: Daisy Ridley, John Boyega, Oscar Isaac, Carrie Fisher, Adam Driver, Domnhall Gleeson, Anthony Daniels, Domhnall Gleeson, Richard E. Grant, Keri Russell, Kelly Marie Tran, Billy Dee Williams

Director: J.J Abrams

Synopsis: The First Order, under the leadership of Kylo Ren, seeks to consolidate its power following the deaths of Luke Skywalker and Leader Snoke. Meanwhile Rey leads the rest of the Resistance in a bid to restore peace in the Galaxy…

This review will be 100% spoiler free

Review: For over four decades, ever since a little film called Star Wars was unleashed on the world, it became this massive pop culture phenomenon, with an immeasurable, ever-lasting impact on the world of entertainment. Several times over the last few decades, we have seen this franchise take its supposed final bow. First came 1983, then in 2005, closing out the prequel trilogy after two lacklustre preceding films. Following Disney’s overtaking of the franchise, a new trilogy came into being. Four years since this trilogy blasted its way into existence, the time has come for it, and The Skywalker Saga, to take its proper final bow, in rather disappointing fashion.

Having lost instrumental figures following the events of The Last Jedi, both The Resistance and the First Order are seeking to take advantage of the power vacuum in the Galaxy and vanquish the other side once and for all. This galactic power struggle is thrown into further chaos when a mysterious entity, of a terrible foe long since thought to be dead, is threatening to unleash a new terror upon the Galaxy to ensure that the Dark Side will triumph once and for all.

It is not exactly news to anyone who has followed this franchise over the years that after The Force Awkakens chose to play things safe for the reintroduction to this franchise, The Last Jedi made some bold choices in a bid to try and take the franchise forward. In so doing, it caused an enormous divide among fans upon its release. Therefore having retaken the reins from Johnson, the onus was on JJ Abrams to steer this ship home, but it definitely hasn’t come home in one piece. The screenplay from Abrams and Chris Terrio feels very haphazardly put together, giving the impression that a slew of ideas were thrown at the wall and  meshed together, which produced decidedly mixed results. Having managed to craft a pretty airtight script for The Force Awakens, it’s extremely perplexing how the script this time around is full of what feels like unnecessary side quests, consequently feeling rather unfocused.

What’s worse is that some of the dialogue borders on prequel level of how cringe-inducing it is. To add further insult to injury, the directions that some of the characters go in are just completely baffling, and in some cases, are borderline insulting. In the wake of the backlash that was directed at TLJ, all the promising potential that TLJ offered is firmly discarded. All the intriguing plot points put forward are retconned in favour of a script that just for want of a better word, was nothing more than pandering to try and get the fans back onside following The Last Jedi. Favouring appeasement of the fans over bold and creative storytelling feels like an enormous cop-out, and could set a worrying precedent.

This isn’t to say that the whole thing is a complete waste of time, as Abrams brings his usual visual panache to the direction and the lightsabre battles that are present are exhilarating to watch, and for all of the story’s faults, there was potential there. Yet, for all that technical marvel, nothing shown here remotely represents an improvement on what came before it, and everything feels completely inconsequential. Therefore credit where credit’s due as all of the principal cast do excellent jobs reprising their roles, in spite of the less than stellar material they were given to work with, all. The leading lights are once again, Daisy Ridley’s Rey and Adam Driver’s Kylo Ren who by far and away are giving the best performances in the film.

It’s fantastic to see Billy Dee Williams reprise his role as Lando Calrissian but he is frustratingly given sparse to do, and same goes for the rest of the new crop of supporting characters, none of whom are remotely memorable in the slightest, apart from Richard E Grant’s brilliant turn as a First Order officer. Completing the arc of General Leia cannot have been easy considering Carrie Fisher’s tragic passing. However, through the use of archived footage, which surprisingly fits into the story fairly seamlessly, credit can be taken for giving this beloved character a satisfying concluding arc, one that is not a slap in the face to the fans.

No matter what you feel about the preceding two films in in this franchise, they represented the opportunity for the franchise to go in some bold new directions. Thus, to see that all ultimately get thrown away in favour of the direction they did go in is extremely disappointing. For a franchise that has meant so much to so many people throughout the decades, everything was in place for Abrams to wrap up this trilogy in triumphant fashion, but unfortunately, stick the landing, it does not.

While offering some exciting moments, the Skywalker saga ultimately wraps up with what is, comfortably, the weakest film in the trilogy. A disappointment not felt in the galaxy since the days of the Prequel trilogy.

Posted in 2010-2019, Film Review, London Film Festival 2019

Waves (2019)

Image is property of A24

Waves – Film Review

Cast: Kelvin Harrison Jr, Taylor Russell, Alexa Demie, Renée Elise Goldsberry, Sterling K. Brown, Lucas Hedges

Director: Trey Edward Shults

Synopsis: Focusing on an African-American family, and the lives of the two children as they navigate the testing period between their teenage years and adulthood…

Review: No matter who you are, or where you’re from, there’s a lot of pressure on you when you’re young. The period between your teenage years and the transition to adulthood are extremely tough to negotiate as you try to figure out your path in life, and certain decisions can define your trajectory for a long time to come. With only his third feature film, writer/director Trey Edward Shults presents an emotional look at one family’s journey through this testing time, with some immensely powerful results.

Right from the get go, there’s something about the way Shults writes and directs this powerful story feels so raw and honest, and this translates into flawless performances from every member of the Williams family. At the head of the family is loving, but tough father Ronald (Brown), stepmother Catherine (Goldsberry), and the two children Tyler (Harrison Jr) and Emily (Russell). Initially, we see things from the perspective of Tyler, and on first glance, things appear to be going well for him. He has his place on the wrestling team and a loving girlfriend in Alexis (Demie). Through relentless pushing by his father, he strives for excellence in every aspect of his life. However, a startling revelation threatens to turn his idyllic life completely upside down, with potentially long-lasting consequences for him and everyone he loves.

In a film with impeccable performances across the board, Kelvin Harrison Jr leads the way with a tremendous, wounded performance as Tyler. He imbues this young man who’s not short of confidence and self-belief. However, underneath that exterior is someone who faces severe pressure of the expectations that society places on the shoulders of a young man like him. The whole time, he has something eating away at him. Amid the constant pushing from his father, he runs the risk of making a severe lapse in judgement. The film illustrates how young men all over the world can be overwhelmed by the weight of expectations that society places on them, and that it’s imperative for them to have figures of support to help them navigate the tricky journey that we call life.

Opposite him, Taylor Russell delivers an equally sensational performance as Tyler’s sister Emily. Though Tyler gets the limelight in the early stages of the film, Emily very much represents that vital figure of support that her brother really needs, even though she too is facing pressure of her own. The film is very much told in two halves, first from Tyler’s perspective, and then from Emily’s perspective. The first half of the screenplay is the stronger of the two due because of the sheer strength of the emotion of the situation that builds between these characters. Though, there comes a point about half way through where that emotion builds to a crescendo, and hits you like a ton of bricks.

Like a wave itself that has its highs and then it comes crashing back down, the second half of the story very much represents the point after the wave has reached its crescendo. It’s not emotionally powerful as the preceding half, but it serves as a necessary after-effect for the events that precede it. There’s a very intimate and personal manner to the way Shults directs the film, which gives the story a authentic vibe to this touching, and emotional story. Bolstered by a superb score from Trent Reznor and Atticus Ross, the film serves as a reminder that growing up is far from an easy time, and that love and support can go a long way to building long-lasting relationships, with family and with friends in equal measure.

Flawless performances across the board, especially from Harrison Jr and Russell, bolstered by a well developed, and powerful story told with raw honesty. Be prepared for the extraordinary emotional journey that Waves will take you on.

Posted in 2010-2019, Film Review

Frozen II (2019)

Image is property of Walt Disney Animation Studios

Frozen II – Film Review

Cast:  Idina Menzel, Kristen Bell, Josh Gad, Jonathan Groff, Sterling K. Brown, Evan Rachel Wood, Alfred Molina

Directors:  Chris Buck and Jennifer Lee

Synopsis: Set three years after the events of the first film, as a mysterious voice that calls out to Elsa, she must venture beyond Arendelle’s borders in search of the truth behind her powers…

Review: Cast your minds back to November 2013, the time when Frozen fever came, and quickly conquered all before it. No matter where you were, this phenomenon was inescapable as it swept across the globe, shattering box office records left, right and centre, eventually landing the title of highest grossing film of all time, a title it was to hold for six years. Furthermore, with the irresistibly catchy “Let it Go” a song that almost certainly got stuck in heads, especially those with children, several times over. It was a matter of time before Elsa’s powers brought a sequel into existence.

In the years since the events of the first film, the citizens of Arendelle are prospering under Elsa’s rule. With her relationship with Anna as strong as ever, Kristoff’s romance with Anna is going from strength to strength. Alongside them, with Kristoff’s trusted reindeer Sven and the sentient snowman Olaf by their side, all seems right with the world. However, when Elsa begins to hear a distant and mysterious voice that calls out to her, she and Anna must journey beyond Arendelle’s lands to seek out the voice that she suspects might have something to do with the origin of her powers.

Given the incredible phenomenon the preceding film became, when news that a sequel was in the works, the anticipation for it was at freezing boiling point. Taking a familiar Disney Princess trope and turning it on its head(ish), worked a treat for the first film. However, this time around they take the story into a much bolder direction. Rather than focusing on a fundamental battle of good vs evil, the screenplay recognises that the audience have grown up in the six years between the films. With that in mind, it aims to go into a much more nuanced, and mature direction. It’s an admirable approach, but despite a strong start, the plot is not as solid as its predecessor and does start to crack around half way through.

In terms of animation, Disney seldom disappoints and once again, they have delivered in some style. The animation is once again simply stunning to look at. There’s so much sophistication and detail in numerous aspects of the animation that are just make for some astounding visuals, especially when it comes to Elsa’s powers. Furthermore, what definitely helped the first film become the phenomenon it was, was down to the film’s music. Though there’s nothing here quite as powerful, or indeed as catchy as “Let it Go“, returning songwriters, Kristen Anderson-Lopez and Robert Lopez have come up with a number of songs go mightily close to recapture those, soaring notes. most notably “Into the Unknown” that makes the best use of Idina Menzel’s remarkable vocals.

While Olaf’s humour worked in the first film, this time around though it is very hit and miss. There’s a few instances where he can be very funny, but at other times, his humour starts to become extremely grating. Thankfully though, it’s not enough to derail the film, as despite its shortcomings from a narrative aspect, the excellent voice work, the strong sisterly bond between Elsa and Anna, and the handful of memorable tunes go a long way to ensure that this latest venture to the land of Arendelle will not give you frostbite.

The plot is not on as solid ground as its predecessor, however the stunning animation, excellent voice work and soaring music ensure that this is an adventure into the unknown, that’s worth going on.

Posted in 2010-2019, Film Review, London Film Festival 2019

The Report (2019)

Image is property of Amazon Studios

The Report – Film Review

Cast: Adam Driver, Annette Bening, Ted Levine, Michael C. Hall, Tim Blake Nelson, Corey Stoll, Maura Tierney, Jon Hamm

Director: Scott Z. Burns

Synopsis: In the aftermath of the September 11 attacks, a United States Senate staffer is tasked with leading an enquiry into the use of torture by the CIA with some shocking discoveries…

Review: September 11, 2001 is one of those days that if you were alive, everyone remembers where they were and what they were doing on that terrible day. In the wake of such unimaginable devastation and loss of life, any government would be under pressure to bring the perpetrators of such a callous attack to justice. But as we know, the war that was waged in response to 9/11 had long lasting consequences, and not all of it has been widely available public knowledge.

Daniel Jones (Driver) is a Senate Staffer who’s recruited to work for Senator Dianne Feinstein (Benning). Tasked with investigating the “enhanced interrogation techniques” that were used by the CIA to try and extract information from Al-Qaeda terrorists to give them intelligence. Spending many years of his life, trawling through thousands upon thousands of pages of rather chilling evidence, the details that are uncovered are startling. To further complicate matters, politicians clamour to prevent the full details of his report from being made public.

In this inescapable partisan nature of politics in this day and age, to craft a compelling balanced narrative out of such heavy and hard-hitting material is a tall order, but writer/director Scott Z. Burns does exactly that. In a drama that relies on people spending most of their time on screen either sitting at their desks researching on computers, or having conversations with politicians. It’s imperative that the script be well-written and on point to carry the film’s narrative throughout. Furthermore, to avoid getting bogged down in partisan politics, the film clearly illustrates that no side of the political spectrum is absolved of blame when it came to the attempts to block the report from being made public.

Given his status as one of the most prolific actors currently in the business, it should come as no surprise that Adam Driver once again gives an excellent performance. In the same vein that Official Secrets was resting on Keira Knightley’s shoulders, the onus is on Driver’s Daniel Jones to navigate the audience through this important period in modern US history and leave no stone unturned in what went on, and who was responsible for allowing this to happen. By his side through all of this is Annette Bening’s excellent turn as Dianne Feinstein. A politician who is resolute in her belief to do the right thing, whilst ensuring she is not too overtly biased towards her side of the political spectrum.

The torture scenes in the film make for, as you might expect, uncomfortable viewing. However, they are necessary to put the events, and the work that is carried out by Jones and his team, into context. The editing is a little uneven in the first act as the film between the investigative work being carried out, and the torture scenes. While these do serve their purpose, they can get a bit tiresome very quickly. Thankfully these are not focused on for too long. The report itself and the efforts to bring it to the attention of the public become the sole attention. There’s nothing remarkable about Burns’s direction, but the gripping subject matter and some excellent performances maintain the investment in the story.

The world, in particular the world of politics is a scary place right now. In a time when politics, and by consequence politicians are becoming increasingly fraught, bitterly divided on allegiances to an individual and or a particular party. Rather than be beholden to blind allegiances, it pays to be open-minded and to not let party politics cloud your judgement, especially when it comes to examples of blatant wrongdoing that should not be buried behind mountains of legal paperwork.

Hard-hitting and timely, The Report speaks volumes about this extremely divisive political era, reminding us value of integrity, and the importance of holding those in power to account.

Posted in 2010-2019, Film Review, London Film Festival 2019

The Aeronauts (2019)

Image is property of Amazon Studios

The Aeronauts – Film Review

Cast: Felicity Jones, Eddie Redmayne, Himesh Patel, Rebecca Front

Director: Tom Harper

Synopsis: Using a only a hot air balloon, a pilot and a meteorologist attempt to go higher than anyone in history, in the pursuit of making groundbreaking discoveries….

Review: Every day, our daily lives can be dictated by this unpredictable phenomenon known as the weather. Though we now have the capabilities to predict the weather, it was not always so.  As a species humanity is on a seemingly never expanding quest for scientific knowledge and truth. But, how far does one go to make new scientific discoveries? The answer for two people, is to hop on a hot air balloon and go to unprecedented, exceedingly dangerous heights, higher than anyone in history.

Meteorologist James Glaisher (Redmayne) is convinced that humanity has the capability to predict the weather. The only problem is, none of his peers see this as even remotely possible. Determined to prove his theory, whilst simultaneously making ground-breaking scientific discoveries, he seeks a hot air balloon to go into the heavens and to confirm his theories. However, the person capable of taking him to such heights is Amelia Rennes (Jones), a woman who due to a tragic incident in her past, is initially, a little reluctant to get back into a hot air balloon.

Having proved that they have wonderful chemistry together in The Theory of Everything, it’s a pleasure to see Felicity Jones and Eddie Redmayne back on screen together. Once again, they make a very effective on screen duo. Redmayne is no stranger to playing a man with a brilliant scientific mind and once again, he does an admirable job portraying a scientist who is driven to make new discoveries. However, his ambition is just not possible without Amelia Rennes. Due to that horrible moment in her past, she very much represents the heart and soul of the film. In that situation, it takes incredible courage to take that step back into a balloon, and thanks to Jones’s fantastic performance, her journey is a critical component of their daring feat.

Lovely view up here, just don’t look down…

Visually, as the pair of them make their ascent through the sky to frightening heights, every technical aspect of the film-making soars. From the breathtaking visuals, to the phenomenal cinematography combined with Harper’s meticulous direction, and a superb score from Steven Price. It’s all executed perfectly, and it puts the audience right in the basket of the balloon with these two people direction, going to heights that you could never have even imagined, all while maybe raising the heart-rate especially if you have a fear of heights. However, the tension begins to build as the risk of catastrophe striking rises the higher up into the atmosphere they go.

What frustratingly threatens to burst the balloon of this story is the film’s narrative structure. It chooses to jumps backwards and forwards between their pulsating balloon adventure, and events in the past that led the pair of them to attempt this daring feat.  Though the flashbacks are not without moments of intrigue and drama, such as the tragic incident in Amelia’s past. The decision to tell the story in this manner, hampers the the film’s ability to build and maintain the enthralling momentum that their journey generates. Though when it is focused on the balloon’s ascent, descent, and the subsequent fight for survival, is when the film soars the highest.

Like with any film that is based on a true story, certain liberties are taken with the true to life events. The most notable being, that Amelia Wren as a character is fictitious and has been incorporated into this story. While this could be problematic for some viewers, it does not serve as an overwhelmingly troublesome distraction. Principally because, at a time when women were seldom involved in the world of science, to have a strong female who takes charge in such an escapade sends a positive message. Even in today’s society, the sky is the limit and nothing should stop any woman from wanting to pursue a career in science.

Breathtaking visuals and a solid pair of performances from Redmayne, and especially Jones, is when the films soars the highest. However, it’s prevented from reaching the spectacular heights it was aiming for due to its problematic narrative structure.

Posted in 2010-2019, Film Review

Official Secrets (2019)

Image is property of Entertainment One

Official Secrets – Film Review

Cast: Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans, Adam Bakri, Ralph Fiennes, Conleth Hill

Director: Gavin Hood

Synopsis: Telling the true story of a GCHQ employee who, in violation of the Official Secrets Act of 1998, leaked a top secret memo containing information relating to the 2003 Invasion of Iraq to the press.

Review: One of the many wonderful aspects about film is that it can shine a light on an event from decades ago, and reintroduce it into the public consciousness for a whole new generation to learn about. This can also be applicable for historic events set in more modern times, as certain stories can get buried in the sea of round-the-clock news that the world has become. Stories that deserve to be known to people across the globe. One such example is that of a Government employee and her courageous decision to go against her government, at the very real risk of prosecution is a very brave one, especially in this day and age of emotionally charged political discourse.

The government employee in question here is GCHQ employee Katharine Gun (Knightley). On what appears to be a regular work day, an email comes through containing a memo with some top secret information relating to the 2003 Invasion of Iraq, and whether certain countries were being coerced into voting for a resolution to go to war. Feeling that such information deserves to be shared with the wider world, and not buried behind legal barriers, she leaks the memo via a close confidante. Soon enough, the memo lands in the hands of the Press, who are left with their own risky decision as to whether they should invoke the fury of the government, and run the story.

Keira Knightely is an actor who certainly likes to pick roles in period dramas. However, here she comes back to modern(ish) times with a bang. She delivers a sensational performance as the woman who bravely takes a stand, when seemingly no one else would. Even though, such an action comes with the very severe risk of imprisonment. With each word, she displays her bravery and conviction in her belief that what she is doing is unequivocally the right thing to do. This is Knightley’s film and she carries it on her shoulders excellently, but she’s provided with a sea of strong supporting roles. Including the ever likeable Matt Smith as the leading journalist who first picks up the story, and a brief but effective performance from the consistently reliable Ralph Fiennes as the lawyer who represents Gun as she faces the threat of prosecution from the Government.

For a thriller that centres on espionage, especially one that doesn’t fire a single shot, there’s a necessity for a well written, sharp screenplay that keeps the audiences’s attention. There’s a risk that with this subject matter, that it could become perhaps a bit too dreary. However, with a script co-written by Gavin Hood, Gregory Bernstein and Sara Bernstein, the intrigue and the suspense is maintained throughout the film. Though there are one or two moments that feel somewhat overly dramatised, the film never fails to be gripping. As the top secret document passes from numerous parties, all while the very real threat of prosecution hangs over Katharine Gun’s shoulders.

For a film that depicts events that are relatively speaking, not actually that long ago, there’s a very important message in this film that needs to be seized upon and relayed the world over. Namely, that a time when governments the world over are under intense scrutiny, every day, people like Katharine Gun are standing up for what’s right and calling into account actions that must be brought into the public domain for everyone to know about. Furthermore, to ensure that in the future, damning information such as is not buried under mountains of government paperwork, only to be locked into a safe, never to be spoken about again.

With a magnificent lead performance from Knightley, Official Secrets brings to light a story of paramount importance, and one woman’s brave fight against her Government that feels extremely timely in this day and age of bitterly-divided, partisan politics.

Posted in 2010-2019, Film Review, London Film Festival 2019

The King (2019)

Image is property of Netflix

The King – Film Review

Cast: Timothée Chalamet, Joel Edgerton, Sean Harris, Lily-Rose Depp, Robert Pattinson, Ben Mendelsohn, Dean-Charles Chapman

Director: David Michôd

Synopsis: Following the death of his father, a young Prince succeeds his father as King, and immediately finds his rule under threat from internal politics, and the ever-present threat posed from across the English Channel…

Review: The world has undoubtedly changed in the several hundred years since the times of medieval politics. However, what hasn’t changed is the squabbling and backstabbing that goes on behind the scenes in politics and policy making in governments the world over. Though, it has to be said that considerably less swords are now involved. Though that hasn’t prevented this era from being dramatised quite a few times, most notably in recent times by Netflix. After 2018’s Outlaw King, with sword in hand, they are taking another swing at crafting a compelling medieval drama.

England has been at war for many years, and as such, a considerable proportion of the country’s resources are crippled. With the current king Henry IV (Mendelsohn) approaching the end of his life, he seeks to appoint his successor. Through not initially his first choice, his son Hal (Chalamet) is eventually crowned King, becoming Henry V. Having previously expressed little desire to assume the throne, the young King finds many obstacles in his path, from within his own circle to the prospect of invasion from foreign adversaries, all while finding out what kind of ruler he wishes to be. Shortly after being crowned, he is the recipient of a rather derogatory and insulting gift, which prompts the young King to have to decide if he wants to continue going to war.

Given that much of the film is on his personal struggle on his ascension to the throne, such a role would require an actor of immense stature to play such a Kingly figure. Chalamet is certainly a very capable actor, and while he gives it his all, but you can’t help but wonder if this was a role that was came too early on for him in his career. He certainly puts everything he’s got into the role but unfortunately for him, his performance is a bit too one dimensional and lacks that aforementioned stature and charisma that such a King should have in his armoury.

Though like any good King, he has some capable aides by his side, and its these performances that give Chalamet a run for his money. Most notably the jovial, and consistently entertaining John Fastolf (Edgerton). Similarly for William Gascoigne (Harris) who despite being a loyal adviser to the new King, has a personality and a demeanour of a man who you should keep a close eye on. Though on the opposite side of that coin, Robert Pattinson as the leader of the opposing French army really sticks out like a sore thumb. He’s certainly a capable actor, but unfortunately he provides some (perhaps inadvertently) comedic moments. His extremely dubious French accent leaves an awful lot to be desired, and one can perhaps question as to why a French actor was not hired for the part.

French actor or not, there’s clearly no expense spared on the production design, nor the costumes, and these help to bring an air of authenticity. From a technical perspective, the battle scenes are extremely well executed. With Michôd’s solid direction, and Adam Arkapaw’s impressive cinematography, they are by far, the highlights of the film. Yet, while the battle scenes are consistently entertaining, they are not nearly as enthralling when compared to the likes of HBO’s Game of Thrones. Unfortunately, what really lets the whole film down is a mixed bag of a script. Given that it’s a very loose adaption of the works of William Shakespeare, there was potential for greatness. While, it certainly has its moments, it ultimately falls short of providing a riveting narrative, that would make the audience bow down in wonder.

There’s some excellent technical aspects that deserve to be hailed. However due to a somewhat melodramatic leading performance and an indifferent script, The King does not earn the Crown it clearly covets.

Posted in 2010-2019, Film Review, London Film Festival 2019

The Irishman (2019)

Image is property of Netflix

The Irishman  – Film Review

Cast: Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Anna Paquin, Stephen Graham, Jesse Plemons, Harvey Keitel

Director: Martin Scorsese

Synopsis: An account of the life of Frank Sheeran, charting how he rose through the ranks of the mob, eventually arriving at the top where he meets the charismatic Jimmy Hoffa, and the circumstances that surrounded Hoffa’s disappearance…

Review: There’s no two ways about it, Martin Scorsese is the Godfather of gangster movies. With six of them to his name, the ones he has made rank as some of the very best films of this genre. They sit alongside the many incredible films that he has made throughout his long and illustrious career as a director. Though with his latest gangster epic, one of the most expensive Netflix productions to date, he has incredibly managed to surpass himself, by making one of the best crime/gangster films of the decade.

Spanning multiple decades, the film is told from the perspective of Frank Sheeran (De Niro). It begins with a flashback look at his early life, and how as a young man how he went from a soldier to becoming a hitman for the mob. Eventually, as he rises up the ranks gradually becoming more powerful and gaining more influence in the higher echelons, he meets and becomes close with the charismatic Union Leader Jimmy Hoffa (Pacino). Whilst simultaneously exploring how Frank became entwined in the circumstances that surrounded Hoffa’s disappearance.

It should come as no surprise given the stature of the three leading men, and the four Oscars between them, that each and every one of them give powerhouse performances. Marking his ninth collaboration with Scorsese, Robert De Niro gives his best performance in a long time as Frank Sheeran. He’s far from a good guy, yet with an actor of De Niro’s immense charisma, there are sympathetic elements to Sheeran’s character. Though he might have retired from acting in the late 1990s, Scorsese reunites with Joe Pesci, to wonderful effect as crime boss Russell Buffalino. Though, it is Al Pacino’s magnificent, arguably career best turn as Jimmy Hoffa that deserves the most plaudits. In a film with his fellow masters such as De Niro and Pesci, he steals the spotlight from just about every one of them.

With the three leading men, all on outstanding form, there’s an excellent group of supporting characters to give them capable support. Stephen Graham’s mobster underling, who is definitely not afraid to offer a piece of his mind during meetings. Likewise for Ray Romano’s hilarious turn as a Buffalino family lawyer. On the other hand, there are a number of supporting characters who are criminally underutlised. The is best exemplified by Anna Paquin, as one of Sheeran’s daughters, especially as there was scope to explore her character in considerably more detail.

Coming in at just under three and a half hours, there’s extra pressure for a film of that length to hold the audience’s attention and justify that run-time. With his trusted editor Thelma Schoonmaker once again by his side, she ensures that the film is riveting enough to hold the audience’s attention. Though it’s necessary to help set the latter parts of the film, the first act of the film does take its time to get into its stride. Though, once the years have gone by and the endgame gradually comes into view, the thrills never let up once we arrive at the second and, especially the third act. Given that this is the shady underworld of the mob, violence is almost certainly commonplace. However for the purposes of the story, Scorsese deploys a clever technique to let the audience know of the fate that befell some of these characters. Instead he utilises the on-screen violence sporadically, for maximum impact.

Given the large amount of time that’s covered, the passage of time is illustrated through an excellent combination of hair and make up, and the de-aging technology that has been popularised by the likes of the of the Marvel Cinematic Universe. Though there’s one scene where it looks a bit iffy, it’s well done and effective to tell the ambitious nature of the story. For all those who may write off Netflix and its eligibility for the big prizes during award seasons, one thing is for sure, is that they aren’t afraid to spend the big money on their productions. Furthermore, when you’re bankrolling a high calibre director like Scorsese, you simply can’t put a price when it comes to telling riveting cinema, featuring stories that absolutely deserve to be seen on the largest screen possible.

With three impeccable leading performances at its core, under the masterful vision of the Godfather of the Gangster movie, The Irishman is an ambitious, enthralling, and poignant triumph for a legendary filmmaker still at the top of his game.

Posted in 2010-2019, Film Review, London Film Festival 2019

Marriage Story (2019)

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Marriage Story  – Film Review

Cast: Adam Driver, Scarlett Johansson, Laura Dern, Alan Alda, Ray Liotta

Director: Noah Baumbach

Synopsis: As their marriage starts to fall apart, a couple living at opposite coasts of the United States go through a difficult divorce, that threatens to push the pair of them to breaking point…

Review: The day that two people tie the knot and agree to spend the rest of their lives together is usually a joyful, momentous occasion. However, through a plethora of circumstances, that romance and joy can regrettably diminish. Consequently, a couple begin to break apart and regrettably there comes a time when their marriage comes to an end, and they make the painful decision to divorce. Such circumstances would undoubtedly be extremely difficult. So it is to director Noah Baumbach’s immense credit, that he captures the pain and heartbreak of that process in such an emotionally powerful manner.

Charlie (Driver) and Nicole (Johansson) have spent many years happily married, and have a son together. Yet, their relationship has deteriorated and they have made the difficult decision to divorce. The matter is significantly complicated as Charlie is a theatre director, who has his theatre commitments in New York.  Meanwhile Nicole has moved to the West Coast of the USA to pursue her career in acting, leaving their son Henry in a far from ideal predicament. Though both Charlie and Nicole strive to ensure that the process be as amicable, and as complication free as possible, things start to go sour and the situation threatens to push them both to breaking point.

As the main couple in the film, both Adam Driver and Scarlett Johansson are nothing short of phenomenal in their performances. As a couple, they have strong chemistry, their romance feels so raw and authentic that you no longer see the actors, but rather the characters that they are portraying.  The script firmly takes a neutral stance, in that it doesn’t paint one as the hero, and the other a villain. Like anything in life, there are two sides to every personal struggle, and Baumbach’s strong script and expert direction shifts perspectives to allow the audience to see where both of them are coming from.

Despite the divorce, it’s clear that both Charlie and Nicole have strong feelings for one another, and want to do what is best for their child. However, as the divorce process goes on, it threatens to turn them completely against each other. With sublime leading performances from Driver and Johansson, Laura Dern threatens to steal the show, with a scintillating performance as a lawyer who has been recruited to help deal with the proceedings. She’s a consummate professional, but when push comes to shove, is not afraid to be ruthless, especially when it comes to defending her clients.

The strength of Baumbach’s script lies in its ability to make you laugh one minute, and feel immense sorrow the next. There’s something so raw and powerful in, not just everyone of the performances, but how he handles the devastating drama beating at the heart of this story.  Irrespective of whether you’ve been through a divorce, or seen your parents go through a divorce, or you haven’t been in this situation at all, it will be next to impossible to not be emotionally impacted by the film in some capacity. But if you have, you’ll certainly be able to appreciate the film that much more. The mix between comedy and drama is for the most part well handled. There may be a happy and joyful scene, but at any given moment, it will flick that switch in a heartbeat.

Though occasionally, the shifts in tone don’t entirely work. With one moment in particular, the drama is offset by an out-of-the-blue musical performance. While this is undeniably touching, it does feel completely out of place in the context of the scene. Having said that, it doesn’t negate the emotional gravity of the story, and its ability to tear your heart into a million pieces by the time the credits have begun to roll.

Emotionally raw, with sublime leading performances, Marriage Story presents a sincere and heart-breaking look at the humanity of the people going through a divorce, and the devastating impact that this heavy situation can have on people’s lives.