2020-2029, Film Review

Puss in Boots: The Last Wish (2023)

Posted on May 31, 2023May 31, 2023 by Martin: Through the Silver Screen

© DreamWorks Animation and Universal Pictures

Puss in Boots: The Last Wish – Film Review

Cast: Antonio Banderas, Salma Hayek Pinault, Harvey Guillén, Florence Pugh, Olivia Colman, Ray Winstone, Samson Kayo, John Mulaney, Wagner Moura, Da’Vine Joy Randolph, Anthony Mendez

Directors: Joel Crawford and Januel Mercado

Synopsis: Discovering he has gone through eight of his nine lives, Puss in Boots discovers a possibility to restore all of his lives through a magical wishing star…

Review: With his signature boots, hat and sword, it is easy to see why the cunning (and cute when he wants to be) feline warrior known as Puss in Boots captured the attention of everyone when he first appeared in Shrek 2 back in 2004. While he cropped up again in later sequels, the first sequel featuring everyone’s grumpy but lovable ogre remained the jewel in the crown for the franchise based in a land far far away. While he later appeared in his own 2011 spin-off which came and went without seemingly too much fanfare, this sequel has come along to put the Shrek franchise back on the map with the best film in the franchise since the first Shrekquel.

Puss In Boots (Banderas) is living his best lives as a fearless warrior who craves adventure, which leads to an enthralling encounter between Puss and a gargantuan monster/mountain hybrid, all within the film’s opening first act. While he succeeds in his fight against the creature, it comes at a cost. Upon waking up, he finds out that he has used up eight of his nine lives and is urged to put his swashbuckling adventure days behind him for good. However, Puss learns of the existence of a magical wishing star which could replenish his lives, but Puss soon discovers he is being hunted by a terrifying hooded wolf (Moura), the physical manifestation of death itself, and must evade him at all costs before he has a chance to get his lives back.

In a franchise which at its peak was a clever and hilarious look at our perception of fairytales, Paul Fisher and Tommy Swerdlow’s screenplay leans into the fairytale world with the magical wishing star, as well as the use of some high profile characters from well-known fables as side characters, most notably Goldilocks (Pugh) and the Three Bears (Winstone, Colman and Kayo). However, it expertly combines this fairytale backdrop with a Western heavy vibe as Puss, a feline version of Clint Eastwood’s antihero from The Man With No Name trilogy in many respects, must battle an assortment of creatures big and small in his quest to avoid a permanent encounter with death. Banderas has always felt perfect for this role and he is once again perfect as there’s an array of emotions Puss goes through over the course of this enthralling adventure, which must see Puss reluctantly work with a past flame in Kitty Softpaws (Hayek Pinault), who is not happy with Puss, to say the least.

It makes for a fascinating dynamic between these two as they go on their adventure, aided by adorable therapy dog Perro (Guillen). Alongside them, Wagner Moura’s performance as the physical incarnation of death feels particularly chilling and foreboding. The best family movies are the ones which combine elements which will delight younger audiences while giving older members thought-provoking and mature themes. With its explorations of mortality, and the anxiety which can come along with that, it adds so much emotional weight to the story. Ever since the release of Spider-Man Into The Spider-Verse, the bar for producing ground-breaking animation has been raised massively. The combination of the fairytale setting, as well as the Western vibe, gives the animators the opportunity to tinker with varying styles of animation. Whether it’s the glint in a character’s eye, an exhilarating action scene, the visualisation of the titular wishing star or another form of magic artefact, the visuals remain dazzlingly impressive throughout.

It is a shame the Big Bad Wolf/Death’s appearances in the film are fleeting because he is such a commanding, ominous presence, it makes the film’s main villain Jack Horner (Mulaney) seem a bit superfluous in comparison. Horner is a bit one note in terms of him being just straight-up evil and cruel with barely any nuance to him, it makes you wish the film had used more of the former and less of the latter. Nevertheless, while many had assumed the Shrek franchise was consigned to the books where one would read about all those fairytales it parodied, Puss In Boots: The Last Wish serves as a reminder that, like its titular hero seeking to replenish his nine lives, there could be plenty more life, and magic, left in the franchise in a land not too far from Far Far Away.

Visually stunning, with a layered and emotionally resonant story at its core, this latest venture into the world of fairytales and talking animals with everyone’s favourite feline warrior will leave audiences purring with delight.

2020-2029, Film Review, London Film Festival 2022

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

The Father (2021)

Posted on June 11, 2021June 11, 2021 by Martin: Through the Silver Screen

The Father – Film Review

Cast: Anthony Hopkins, Olivia Colman, Mark Gatiss, Imogen Poots, Rufus Sewell, Olivia Williams

Director: Florian Zeller

Synopsis: An elderly man suffering from dementia refuses any assistance from carers or his family as he ages. As his condition begins to worsen, he tries to make sense of his situation…

Review: As human beings, we go through our lives so often surrounded by our loved ones, and for many, nothing can beat the warm embrace that family and friends can provide for us. But, what if one day, someone who you’re very close to, suddenly turned around had no idea who you are, or what they used to do for a living? There’s no getting away from the fact that dementia can have a devastating effect on a person’s mind. It is estimated that around 54 million people around the world currently living with dementia. Through his directorial debut, Florian Zeller provides a unique look at this disease can have on not just the sufferer, but their closest relatives as well.

Anthony (Hopkins) is a man who is suffering from dementia and is slowly starting to lose his grip on reality. His daughter Anne (Colman) tries to plead with her father to get him a professional carer to help him with his condition. However, Anthony point blank refuses, as he believes there is nothing wrong with himself, and is determined to live his life on his own terms. Consequently, by rebuffing her offers of assistance, it begins to erode Anne’s patience with her father, which has a knock-on effect on Anne’s relationship with her husband, especially as all is not what it seems in Anthony’s mind. As his grip on reality slowly starts to dissipate with each passing day.

Adapted from the play “Le Père“, approaching a film that deals with such delicate subject matter is always a challenge for the filmmakers. However, the screenplay by Zeller (who also wrote the play) and Christopher Hampton takes an extremely innovative approach in how it tells its story. Namely, it chooses to frame the film entirely from the perspective of its lead character. By doing this, it lets the audience into the mind of Anthony himself, to see how living with this disease can have such a debilitating effect on the person’s day to day life. Day-to-day conversations are continuously changing. One minute, there’s someone on screen informing Anthony (and the audience) as to who they are. Yet in the very next scene, they might be someone completely different. Through Zeller’s brilliant direction, you wonder are they who they say they are? And crucially, the audience gets a glimpse of what living with this disease must be like.

Anthony Hopkins is an actor who needs no introduction. With his distinguished career whose career is now in its seventh decade, he has given so many brilliant performances across a lifetime of wonderful work. Yet with this heart-breaking performance, it’s easily the best performance he has given in a very long time. He starts off the film in a very buoyant mood, but with each passing scene, it becomes clear that this disease is taking an immeasurable toll on his well being. Given that his character shares his name with the actor portraying him, it is evident that Zeller had Hopkins in mind when bringing this performance to life, and it pays off massively with an astonishing performance. Alongside him, Colman’s role of Anne is more subdued, but we sympathise with her as she tries to show love towards her father, even if that is starting to wear extremely thin as Anthony’s condition takes hold, and his stubborn refusal to accept her help.

This is far from an easy watch, but what Zeller has accomplished through this study of this disease, is an emotionally powerful film that will hopefully be extremely effective in increasing awareness about this disease. Given that it is estimated that the number of people suffering from dementia across the world will rise to 130 million by 2050, this is fast becoming a very serious issue that demands our increased awareness as a society. For the simple reason that it is entirely possible that we, or that someone we love, may well suffer from this disease at one point in our lives.

A careful approach to its subject matter, extremely innovative direction, and an absolutely heart-breaking lead performance from Hopkins, all combine to make The Father an extremely moving, and unforgettably devastating drama.

2020-2029, Film Review

The Mitchells vs. the Machines (2021)

Posted on May 7, 2021May 7, 2021 by Martin: Through the Silver Screen

**© Netflix, Columbia Pictures and Sony Pictures Animation**

The Mitchells vs. the Machines – Film Review

Cast: Danny McBride, Abbi Jacobson, Maya Rudolph, Michael Rianda, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, John Legend, Chrissy Teigen, Blake Griffin, Conan O’Brien

Directors: Michael Rianda and Jeff Rowe

Synopsis: When a robot uprising occurs during a family road trip, one dysfunctional family becomes the last hope for humanity…

Review: It isn’t exactly news that humanity as a species have become rather obsessed with all gadgets of various shapes and sizes that have a screen in them. Whether it be phones, laptops, tablets or TVs, if we’re not working, chances are high that we will have our eyes glued to those gadgets that are “bathed in ghoulish blue light”. But what if those machines that we are so dependent on, instead decided to do away with humanity as a species and rule this planet for themselves? While humanity’s over-reliance on technology is far from an original concept, in the hands of Phil Lord and Christopher Miller, the duo who helped to bring the visual wizardry of Spider-Man: Into the Spider-Verse to life, they’ve turned that concept into this bonkers, but uproariously entertaining adventure.

Katie (Jacobson) is as an aspiring filmmaker, who is one step closer to her dream job after being accepted into a film school. Her ambitions don’t sit well with her technophobe father Rick (McBride). Due to her ambitions and his own issues with technology, he struggles to connect with Katie. Fearing that they may drift apart for good once Katie has settled into college, Rick decides to take the entire the family go on a cross-country road trip, which is meant to be in theory one last family outing. Unfortunately for the Mitchell family, their family trip coincides with the beginning of a robot uprising determined to eradicate humanity from the face of the Earth. Consequently, this quirky, oddball family find themselves as the last hope for humanity to stop the robot apocalypse.

While many may well see Disney and its subsidiary Pixar as the top dogs of animation movie making, there are certainly plenty of studios that are producing some stellar animation flicks that are certainly capable of challenging Disney and Pixar’s status as animation top dogs. For Sony Pictures Animation, Into The Spider-Verse was the perfect example of an innovative, unique stunningly crafted piece of film-making that really pushed the boundaries of what this medium could accomplish. Under the direction of first time directors Michael Rianda and Jeff Rowe, this enthralling adventure continues that trajectory with a unique and exhilarating blend of 2D and 3D animation styles.

As with the animation, the voice work of the cast is exceptional across the board. As the film’s central protagonist, much is resting on Katie’s shoulders and through the excellent voice work by Abbi Jacobsen, she carries the film marvellously well. There will be many out there who empathise with Katie as a quiet somewhat introverted individual who’s passionate about what she does, and Jacobson imbues Katie with a fiercely independent, yet extremely likeable personality. Due to his difficult relationship, and his immense disdain for technology, the strained relationship between Rick and Katie features at the centre of the film. McBride excels as a father who strives to find the balance between being the stern parent trying to steer his children away from the allure of the screens, whilst simultaneously trying to do his best for his daughter.

While the voice talents of Jacobsen and McBride are given most of the spotlight, the performances of Maya Rudolph and co-director Michael Rianda are perfect as mother Lin and Katie’s brother Aaron, are given plenty of screen time to flesh out their characters. Though, like with any film that features a robot apocalypse, the need for a strong villain is imperative. In this instance, that antagonist is PAL, a super intelligent AI who’s basically like if the personal assistant in your phone went rogue and tried to kill you and all of humanity in the process. Proving that the no one plays an antagonist better than the British, the casting of Olivia Colman in this menacingly evil, and simultaneously hilarious role, is an absolute masterstroke.

At 113 minutes, the film is certainly longer than average when compared to most animated adventures. However, from the word go, the momentum that’s generated from the film’s wild and exhilarating story ensures that at no point does the film lose the momentum that it has generated. It moves from fun road trip film to a battle for humanity’s survival with effortless ease, as a wild mixture of hilarious gags and thrilling action help to keep the plot going at a frenetic and exhilarating pace. Furthermore, it packs plenty of heart-warming character moments in between absolutely thrilling action scenes that will definitely be appreciated by man and machine-kind alike in equal measure.

With its perfect combination of bonkers and hilarious action and sincere heartfelt character moments, the latest Lord/Miller collaboration sets the bar high for the rest of 2021’s animated offerings.

2010-2019, Film Review

The Favourite (2018)

Posted on January 6, 2019November 15, 2023 by Martin: Through the Silver Screen

**Image is property of Fox Searchlight and Film4**

The Favourite – Film Review

Cast: Olivia Colman, Rachel Weisz, Emma Stone, Nicholas Hoult

Director: Yorgos Lanthimos

Synopsis: In 18th Century England, with the country at war with France, a frail Queen (Colman) relies on her confidante (Weisz) to run the country. However when a new woman (Stone) arrives at court, a battle for the Queen’s attention ensues.

Review: If you encounter someone who complains about Hollywood becoming too dominated by superheroes, reboots , prequels etc., you should encourage them to seek out the filmography of Yorgos Lanthimos. If you are after something unconventional, he is your man. Eccentric to the extreme, having dabbled in a dark love story, and a wholly unique spin on the classic revenge tale. Now Lanthimos takes his idiosyncratic style to the realm of period dramas, and combines it with some very dark comedy, and a riotous romp ensues.

At the centre of this royal feud is Queen Anne, who is in rather poor health at this moment in time that means she finds it difficult in terms of being the Queen and governing her country. Instead, the Queen likes to fill her time with some rather obscure past-times so her confidante Lady Sarah is effectively ruling in her stead. This is until a new arrival at court, Lady Sarah’s cousin Abigail arrives seeking employment to turn around her own fortunes, and gain favour with the Queen, giving rise to a feisty battle between the two women to be the Queen’s “Favourite.”

Though not written by him, this feels of similar ilk to Lanthimos’s previous filmography, simple because of how out of the ordinary it is, Downton Abbey this most certainly isn’t. Telling a story in chapters is nothing new, but it’s done in a manner that feels extremely innovative. The screenplay by Deborah Davis and Tony McNamara packs in a copious amount of expletives which go hand in hand with some very sharp and witty dialogue that just works so fluently between these engaging characters who seem to be continuously scheming. There are more than a few extremely humorous exchanges that should get those laughter muscles moving.

Though every member of this cast are on top form, including a brilliant turn from Nicholas Hoult, it is the performances of the three central women that are by far the standouts. Colman as Queen Anne is delightful when she wants to be, screaming at those who dare look at her. Yet she is at other times melancholic, given the tragic nature of her past. As the Queen’s confidante/lover, Sarah can be a bit bossy when push comes to shove, but Weisz plays her so brilliantly that you sympathise with her in what she is trying to do. It is however the fierce rivalry that ensues between Lady Sarah and Emma Stone’s Abigail that is the driving force of this story. This is a far cry from her work in La La Land, but Stone takes to this role like a duck to water, and just bosses it from the moment we are first introduced to her, after she has fallen face first into a pile of mud.

As he demonstrated with his previous films, Lanthimos brings a very unique visual style to this film which includes a considerable use of wide shots. The gorgeous cinematography provided by Robbie Ryan only adds to the visual flair of the film. No expense was spared when it came to the production design or the costumes as both are just absolutely exquisite, very befitting for a Queen mind you. Though the film does start to lose its way a little bit in and around the third act, it is only dips momentarily. Lanthimos is certainly different in terms of what he brings to the big screen. While different doesn’t always mean great, it has just the right amount of idiosyncrasy that makes it such a riot to watch.