Empire of Light (2022)

Posted on January 3, 2023March 26, 2025 by Martin: Through the Silver Screen

Empire of Light – Film Review

Cast: Olivia Colman, Micheal Ward, Monica Dolan, Tom Brooke, Tanya Moodie, Hannah Onslow, Crystal Clarke, Toby Jones, Colin Firth

Director: Sam Mendes

Synopsis: On the south coast of England, a romance develops between two cinema employees…

Review: Where do you go after making what could feasibly be deemed your magnum opus? This would have been the question for Sam Mendes following the magnificent triumph of his captivating war film 1917. It has been popular among big-time Hollywood directors to focus on films which illustrate the wonders of the big screen, understandable given the COVID-19 pandemic caused cinemas everywhere to remain dark for many months. Therefore, it seems a given a renowned director like Mendes would be able to bring something unique to this increasingly popular cinematic trend. Yet, despite some good intentions, Mendes’ follow-up to his World War I masterpiece is a crushing disappointment.

Set in the early 1980s on the South Coast of England, Hillary (Colman) is the manager of the Empire, a beautiful cinema in a prime location on the seafront. Despite being a consummate professional who is dedicated to doing her job to the best of her ability in spite of the presence of her rather unpleasant boss Mr Ellis (Firth), Hillary’s happiness is beginning to diminish as the job takes a toll on her mental health. However, with the arrival of Stephen (Ward), things initially start to seem a little brighter as the two of them develop a romance. However, it is a brief respite for Hillary as her mental health worsens, especially with the country sliding into recession, putting the cinema at risk, and the foul stench of racism clogging the seaside air.

The film marks Mendes’ first solo attempt at writing a screenplay and it is telling his efforts completely crumble under the enormous weight of the story it is trying to convey. It is all well and good to tackle important social issues such as the stigma which still surrounds mental health and the poisonous presence of racism in society. Yet, it is all rendered utterly meaningless as the attempts to tackle these issues are so hamfisted and underdeveloped, that the film feels completely unsure of what it really wants to say. In doing so, it doesn’t add anything meaningful to the issues it is trying to address, even more so considering the film is also attempting to portray a love story between two cinema employees, while also coming across as a moving ode to the magic of the big screen, the latter of which seems to be tacked on as a mere afterthought. There are simply too many different subplots happening at one time and it ultimately proves too much for Mendes to weave these together all by himself.

Since winning her first Oscar in 2019, Olivia Colman has quickly become something of an industry favourite among industry and audiences alike, given she has added two further nominations in the last two years. While both Colman and Michael Ward admirably try their hardest to elevate the poor and underdeveloped material they have both been given to work with, it proves to be too difficult a challenge for both of them to overcome. Their romance is by far and away the most developed part of the film, but even then it is not nearly given the attention it needs to flourish due to the numerous ongoing themes the film tries to explore. Furthermore, there is simply not enough chemistry between the two of them which makes it difficult to care about their romance. One of the film’s few bright sparks is the ever-reliable Toby Jones as Norman, the cinema’s resident projectionist.

Frequent Mendes collaborator Roger Deakins’s cinematography is immaculate, and Trent Reznor and Atticus Ross do not disappoint with their score. It is therefore such a shame their fine work ultimately goes to waste on a film which should have been a sure bet in such capable hands. Yet, rather than recapture the feelings of joy and wonder which often come from seeing films on the big screen in a packed auditorium, this is completely devoid of any charisma and charm, leaving nothing but an empty feeling inside. There will undoubtedly be many more films released in the coming years serving as a reminder of the power this medium can have on audiences, but this one misses the mark entirely.

Despite the best efforts of the cast and a very capable director, Empire of Light completely fails to dazzle due to its unfocused script, combining poorly developed social commentary with a half-hearted tribute to the beauty of cinema.

2020-2029, Film Review, London Film Festival 2020

Supernova (2020)

Posted on October 15, 2020October 15, 2020 by Martin: Through the Silver Screen

**Image is property of BBC Films and StudioCanal**

Supernova – Film Review

Cast: Colin Firth, Stanley Tucci

Director: Harry Macqueen

Synopsis: As a middle-aged couple travel around England visiting family and friends, as one battles with his dementia diagnosis, the other must do whatever he can to care for his beloved partner…

Review: As human beings, mortality is something that we sadly have very little control over. The day when we, or someone very close to us, is struck down by a life changing disease is one that is fraught with sadness and uncertainty. Yet through every diagnosis, amidst all the immeasurable pain and heartache, light can be found. Something that we can always cling onto, is that the love of those we hold dear, whether from family, or friends, can be of invaluable support for those fighting their illness. It may be cliched to say, yet there’s truth in that this simple emotion holds so much power. It can be an immense source of light, even in the face of devastating circumstances.

Sam (Firth) and Tusker (Tucci) have spent many happy years together in a loving relationship having enjoyed careers as a musician and writer/novelist respectively. However, they have put their careers on hold as Tusker has been diagnosed with early onset dementia. As they both try their hardest to fight and overcome this illness, the tragic realisation dawns on them both that Tusker’s dementia diagnosis is causing his condition to tragically deteriorate, slowly but surely, beyond repair. As they travel around the country visiting family and friends in their campervan, the two of them are determined to do whatever they can to love each other, and keep going through this adversity. Yet deep down, there’s a heart-breaking, but silent, realisation that this might well be the last moments where they can spend meaningful time together as a couple, before Tusker’s illness properly takes hold.

As the couple whose heart-breaking journey is at the centre of the film, both Colin Firth and Stanley Tucci’s performances are nothing short of exceptional. It’s crystal clear that, with every minute that these two acting powerhouses share on screen, there is a warm and affectionate chemistry between them both, and that they love and care for one another deeply. Though as with any relationship, a balance needs to be struck between our own needs and the needs of the other person. Having made their relationship last over numerous years, it’s evident that both men have strived to make their relationship an unbreakable bond. Though, when you’ve been dealt with a crushing diagnosis of a life changing illness like dementia, there are inevitably those moments where the selfish tendencies of one of them threatens to tear their relationship apart.

While it’s hard to get away from the fact that a diagnosis like this is unspeakably painful for all concerned, Harry Macqueen’s beautiful script finds ways to inject a little bit of humour to what is a desperately testing time for this couple. There are wonderful moments of sharp and delightful humour, be it a witty remark about a Sat-nav, or a delightfully humorous moment as Sam an Tusker are winding down for the night. These moments, can be few and far between in such a dire predicament, but they can really make a massive difference. Furthermore, the film perfectly captures the warmth that can come when time with family and friends is well spent, and how precious these moments can be, especially in the midst of such crushing adversity.

The sheer visual majesty of the Lake District is captured so beautifully by the gorgeous glow of Dick Pope’s cinematography. Every single frame has been crafted with the utmost care and Macqueen’s direction is raw, honest and beautiful. It’s a simple story, but sometimes the beauty lies in the simplicity and Macqueen imbues that with an honest and compassionate look about this illness and the upsetting effects it can have. Above all else, it serves as an essential reminder to use your time on this planet wisely. Live your life to the fullest, and love and cherish all those who you hold dear, because when we combine all that together; it is, much like a supernova, an almighty force to be reckoned with.

Acted to absolute perfection by Firth and Tucci and uncomplicated by its simplicity. Supernova will break your heart, whilst simultaneously leaving you in awe of its breath-taking beauty.

2010-2019, Film Review

1917 (2019)

Posted on January 13, 2020December 17, 2024 by Martin: Through the Silver Screen

**Image is property of Universal, DreamWorks and New Republic Pictures**

1917 – Film Review

Cast: Dean-Charles Chapman, George MacKay, Mark Strong, Andrew Scott, Richard Madden, Claire Duburcq, Colin Firth, Benedict Cumberbatch

Director: Sam Mendes

Synopsis: In the height of the First World War, two young English soldiers face a race against time in order to prevent a British battalion from walking into a deadly enemy trap…

Review: When it comes to war films, filmmakers so often choose World War II, and/or the plethora of amazing human stories that took place during this time period as inspiration. However, for Sam Mendes, his inspiration for telling a story set in the heart of the First World War came from a much more personal connection. After being inspired by the tales told by his grandfather during his time as a soldier, Mendes chooses World War I as the backdrop for his second foray into war film-making. He takes us straight to the front line, to the year seen by many as the turning point in the Great War, for an exhilarating cinematic experience that you’re unlikely to forget in a hurry.

Two young English soldiers, Privates Blake (Charles-Chapman) and Schofield (MacKay) are given an extremely perilous mission by their commanding officer. They have received intel that one of their battalions is about to walk into a deadly enemy trap that would annihilate the battalion, and Blake’s brother is among their ranks. Setting off on a seemingly impossible mission, these two young soldiers must venture behind enemy lines and deliver the message calling off the attack, in order to prevent the massacre of his brother’s battalion.

As the two soldiers whose journey is at the centre of this pulsating story, the performances of Dean-Charles Chapman and George MacKay are phenomenal. The entire film is focused on their journey, meaning that it is all resting on their shoulders and they rise to that challenge in extraordinary fashion. The screenplay by Mendes and Krysty Wilson-Cairns, keeps things focused with military-like precision on the two soldiers and their mission, while simultaneously fleshing both of them out to be so much more than just the uniforms they are wearing. The plethora of British acting talent that pop up throughout are welcome presences, but ultimately they are nothing more than extended cameos to drive the plot forward.

With the flawless acting in front of the camera, the work done behind the camera is equally sublime. In the build-up to the film’s release, there was considerable promotion of the one-shot method that Sam Mendes utilises to tell this story. While this could be seen as a gimmick, its use here is tremendously effective to fully immerse the audience in this setting, which is likely to be in no small part down to Roger Deakins. After finally grabbing that long overdue Oscar, Deakins continues to be at the peak of his powers as a cinematographer. While Blade Runner 2049 showed him at his visual best, the work that he does in making the continuous tracking shot such an effective method of story-telling for this mission proves once again that in terms of cinematographers working today, he is almost second to none.

By all accounts, life in the trenches during WW1 was horrendous. and the work of the production design team to recreate these horrors are jaw-dropping. The sheer amount of meticulous details that are present in these sets is completely astounding, it only helps to add to the increasing suspense of the unfolding mission. Likewise for the sound teams, with every bullet fired and every time a plane flies overhead, you feel every moment of it, capturing the brutality of war with frightening realism. It makes you feel like you’re on that front line with these men, every step of the way.

After a staggering fourteen Oscar nominations and no win to his name, this has to be the time for Thomas Newman to break his Oscar hoodoo, as his accompanying score is truly breathtaking and befitting of the emotional journey that is being depicted on screen. Mendes and every single member of his crew have pulled off an astonishing, remarkable cinematic triumph. Above all, thank you to Alfred Mendes for telling your stories, that will now live on forever.

From the powerfully emotional performances of its leading men to the technical mastery behind the camera, 1917 is simply put, one of the finest war films that has ever been put to screen.

2010-2019, Film Review

Kingsman: The Golden Circle (2017)

Posted on September 23, 2017 by Martin: Through the Silver Screen

**Image is property of 20th Century Fox and Marv**

Kingsman: The Golden Circle – Film Review

Cast: Taron Egerton, Mark Strong, Colin Firth, Jeff Bridges, Channing Tatum, Halle Berry, Sophie Cookson, Pedro Pascal

Director: Matthew Vaughn

Synopsis: After their organisation comes under attack, The Kingsman seek the help of their US Counterparts, the Statesman, to help them save the world…

Review: It is always nice when a film knows exactly what the audience wants and doesn’t take itself too seriously. In addition, when said film knew that it was a ridiculously over the top, almost parody of the the spy films that it obviously drew inspiration from, and plays that to its advantage to deliver an absurd amount of entertainment, and laughs, that’s always a most welcome outcome, and this is precisely what Kingsman: The Secret Service was. Therefore, a sequel to this surprise hit was almost inevitable, and Vaughn despite perhaps some initial hesitation, eventually came back to the director’s chair.

The first film was, for the most part British-centric, and more specifically on the Kingsman and the recruitment of young Eggsy into this elite spy organisation. The plot now goes a bit more global, well across the Pond to be exact. With the Kingsman on their knees following a vicious attack, a clue leads them to their US based allies, the Statesman. Their research leads them to something that is known as the “Golden Circle” and with the Kingsman and Statesman now side by side, they must band together to help save the world because as you would expect, as there’s always some dastardly villain looking to wreak world havoc.

Eggsy’s development from deadbeat chav, to a sophisticated gentleman spy was a central theme of what The Secret Service was all about. All the while saving the world with mentor Harry Hart (Firth) by his side. Though Harry initially seems to have suffered a grim demise, but with a presence that is hard to miss if you have seen any promotional material, it indicates that Harry did not meet said demise. Their character development was a key arc of the first movie, but there is much less focus on that arc, and indeed character development as a whole, which can be frustrating to say the least.

Instead Vaughn and Goldman zone in on the action stakes, turning up the volume to maximum. If his past work is anything to go by, Vaughn is certainly a director who knows how to helm jaw dropping action scenes, the church scene from the first film certainly stands out. They’re very fast paced and exhilarating, although sometimes they way they are cut together, with very fast, quick cut editing can make them a bit jarring to watch. The plot is again a bit far fetched to say the least, even more so than the last film, but the movie knows that this is part of its charm, and it uses that to its advantage.

Taron Egerton remains on great form as Eggsy and he is ably supported by the familiar faces of Merlin and Roxy, whilst continuing a relationship with his royal girlfriend. The main bunch of new recruits comes in the shape of the Statesman cast, with Bridges giving Rooster Cogburn a 21st century makeover in the form of Statesman top dog Champ. Tequila and Ginger Ale (Tatum and Berry) are welcome additions but both feel somewhat underutilised. Meanwhile Pedro Pascal as Whiskey is perhaps the most interesting of the new bunch, honing his Oberyn Martell-esque fighting skills to great effect, and while she does have some time to shine, Julianne Moore as the antagonist would have benefited from a bit more screen time.

Though it doesn’t get too bloated, the film does feel perhaps a tad too long, perhaps because Vaughn does cram so much into this new adventure. but there’s more than enough good material here for audiences to enjoy. Like last time, the movie remains very self-aware, it knows it is a bat shit crazy experience with spies, espionage, gadgets, action and VERY adult humour. And that’s just what you signed up for, suited and booted and all.

There’s not a great deal of character development to be found, but like its predecessor, The Golden Circle delivers those insane and thrilling action set pieces and adult humour that make it such a blast to watch.

2010-2019, Film Review

Kingsman- The Secret Service (2015)

Posted on September 3, 2015October 15, 2020 by Martin: Through the Silver Screen

**Image rights belong to Marv Films, Cloudy Productions, Shangri-La Entertainment, TSG Entertainment and 20th Century Fox**

Kingsman: The Secret Service – Film Review

Cast: Colin Firth, Taron Egerton, Michael Caine, Mark Strong, Samuel L Jackson, Sophie Cookson, Sofia Boutella

Director: Matthew Vaughn

Synopsis: A young man, down on his luck, is given the chance to turn his life around, and to apply for a unique organisation called the Kingsmen.

Review: When you think of the spy movie genre, the likes of a sophisticated gentleman sipping a Vodka Martini whilst dressed in a sharp looking tuxedo may come to mind. Over the years, the James Bond franchise has dominated the spy genre, and this film recognises that. Yet it is not a rip off, not at all, it is director Matthew Vaughn’s love letter to the genre. It’s not quite From Russia with Love, more like From Vaughn with Love. The class and sophistication that is reminiscent of 007 is most certainly present, but Kingsman comes along, and ups the fun ante by a considerable amount.

The focus of this story is Eggsy (Taron Egerton). Immediately it is apparent that this is a guy who is seemingly on the road to nowhere, almost destined for prison. This is until a gentleman in the shape of Harry Hart (Colin Firth) comes in. An opportunity has arisen to apply to become one of the Kingsman, a very unique organisation. All the while, as with almost all spy movies, there is a crazy villainous dude (Samuel L Jackson) who has some rather disturbing plans to bring about the end of the world via a device that many of us find ourselves glued to these days. Thus we descend into familiar territory, gadgets, crazy fights, and just some good fun entertainment, that is definitely worth the price of an admission ticket, and then some. The fun is here, and so is the vulgarity and the violence that would make Quentin Tarantino very proud indeed.

KSS_JB_D11_01307 – Harry (Colin Firth), an impeccably suave spy, helps Eggsy (Taron Egerton) turn his life around by trying out for a position with Kingsman, a top-secret independent intelligence organization.

As in 2010 with Chloe Grace Moretz, Matthew Vaughn has unearthed another gem of a young, talented actor in Taron Egerton. His character transformation from young troubled kid living in a rather sorry looking estate to a sophisticated gentleman is a joy to watch. There providing his support is an electric Colin Firth, who is definitely having the most fun he’s had in quite some time. Here is a gentleman who will sip a beer and then smash you over the face with the glass! Together their chemistry is enthralling to watch. You really witness that Harry sees something of a kindred spirit in Eggsy. While his character’s lisp is a little bit annoying at times, Samuel L Jackson also brings his A game to his villainous role, and like Firth, he definitely looks as though he’s having an absolute blast. Accompanying him is a lethal femme fatale in Gazelle, who is armed with some dangerous blades on her feet in a throwback to old school Bond villains.

To some this may feel like a James Bond rip off, and this couldn’t be further from the truth. There is no denying that James Bond has a big influence, what with all the references that are littered throughout, but this is definitely a Matthew Vaughn picture. The action is handled extremely well with exhilarating scenes aplenty. Although some scenes may unsettle some as they venture into the Tarantino scale of madness. There are also times when it is seemingly apparent that there is a stunt double in action. However, the sharp, funny screenplay by Vaughn and Jane Goldman packs plenty of emotion in there as well. The villainous plot is a little bit ridiculous and implausible, but you leave your brain at home here, you are here to be entertained, and Vaughn and co bring that in abundance, shaken and stirred to the best degree possible. Fasten your seatbelts, cos you’re in for a blast, innit bruv!