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Bob Mann (459 KP) rated The Guernsey Literary and Potato Peel Pie Society (2018) in Movies
Sep 29, 2021
“Contented with little, wishing for more”.
Here’s a curious little British film that has some merit, both as an entertainment vehicle and as a history lesson.
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Movie Metropolis (309 KP) rated Non-Stop (2014) in Movies
Jun 11, 2019
On the wrong side of 60 you’d be forgiven for thinking that it was time for Liam Neeson to hang up his gun and move away from the cold, steely world of action films, into the fuzzy and sentimental territory of a rom-com.
Thankfully he and director Jaume Collet-Serra, who Neeson previously worked with on the disappointing thriller Unknown, have decided to continue with the action thriller theme in Taken on a Plane, sorry… Non-Stop.
Neeson plays troubled US air marshal Bill Marks as he begins a non-stop flight from New York to London, though from the outset it is obvious this will be no ordinary journey.
Marks is a man with a chequered past. From suffering with depression after the breakdown of his marriage to his subsequent alcoholism, everything seems to be utterly gloomy.
Soon after take off, Neeson’s character is sent numerous anonymous texts stating that a person on board will be killed every 20 minutes unless $150 million is transferred into a bank account.
Cue Neeson’s trademark gruff tone as he shouts about the cabin trying to discover just hr_Non-Stop_6who is behind the messages. It’s fair to say things aren’t as simple as that and Collet-Serra’s spirited direction keeps things moving with more twists than a curly-wurly.
Julianne Moore stars as Marks’s ‘seat neighbour’ and is as usual excellent but unusually bland, portraying a character that numerous other actresses could’ve fitted into quite easily – it’s a strange departure from Moore’s more deep characterisations, but she does it well despite the lack of material she’s given to work with.
The plot is well driven by the excellent cinematography, using the confined spaces of an aircraft to great effect with sweeping shots of the cabin over the heads of passengers and the use of aeroplane windows to move in and out of the fuselage.
Technology plays a huge part in Non-Stop, the constant stream of text messages that Neeson receives could have made the film fall flat, but thankfully each one is put up on the screen allowing the audience to read them in real time, rather than stopping the story dead and allowing boredom to set in.
Whilst the story and plot are first-rate, the special effects unfortunately are not such a blast. Whilst the majority of them are passable given the film’s relatively small budget of $50 million, the shots of the aircraft towards the finale are underwhelming and look like they belong in a video game, not a Hollywood blockbuster. It’s an unfortunate lapse in an otherwise very competent film.
Thankfully Neeson’s now applauded acting technique distracts from these moments enough to steer Non-Stop to a pulse-racing and very satisfying conclusion.
Overall, Non-Stop is good fun from start to finish and barely slows within its succinct running time. However, it all feels very familiar and this is a problem for its main star too. For all of Neeson’s fans this is another good notch on their bedposts – but I doubt it will bring any newcomers to his admittedly large following, meaning he runs of the risk of being typecast.
Nevertheless, apart from a few lapses in special effects and a rather bland Julianne Moore, Non-Stop is definitely worth a watch – even if there may be a sense of deja vu.
https://moviemetropolis.net/2014/03/01/non-stop-review/
Thankfully he and director Jaume Collet-Serra, who Neeson previously worked with on the disappointing thriller Unknown, have decided to continue with the action thriller theme in Taken on a Plane, sorry… Non-Stop.
Neeson plays troubled US air marshal Bill Marks as he begins a non-stop flight from New York to London, though from the outset it is obvious this will be no ordinary journey.
Marks is a man with a chequered past. From suffering with depression after the breakdown of his marriage to his subsequent alcoholism, everything seems to be utterly gloomy.
Soon after take off, Neeson’s character is sent numerous anonymous texts stating that a person on board will be killed every 20 minutes unless $150 million is transferred into a bank account.
Cue Neeson’s trademark gruff tone as he shouts about the cabin trying to discover just hr_Non-Stop_6who is behind the messages. It’s fair to say things aren’t as simple as that and Collet-Serra’s spirited direction keeps things moving with more twists than a curly-wurly.
Julianne Moore stars as Marks’s ‘seat neighbour’ and is as usual excellent but unusually bland, portraying a character that numerous other actresses could’ve fitted into quite easily – it’s a strange departure from Moore’s more deep characterisations, but she does it well despite the lack of material she’s given to work with.
The plot is well driven by the excellent cinematography, using the confined spaces of an aircraft to great effect with sweeping shots of the cabin over the heads of passengers and the use of aeroplane windows to move in and out of the fuselage.
Technology plays a huge part in Non-Stop, the constant stream of text messages that Neeson receives could have made the film fall flat, but thankfully each one is put up on the screen allowing the audience to read them in real time, rather than stopping the story dead and allowing boredom to set in.
Whilst the story and plot are first-rate, the special effects unfortunately are not such a blast. Whilst the majority of them are passable given the film’s relatively small budget of $50 million, the shots of the aircraft towards the finale are underwhelming and look like they belong in a video game, not a Hollywood blockbuster. It’s an unfortunate lapse in an otherwise very competent film.
Thankfully Neeson’s now applauded acting technique distracts from these moments enough to steer Non-Stop to a pulse-racing and very satisfying conclusion.
Overall, Non-Stop is good fun from start to finish and barely slows within its succinct running time. However, it all feels very familiar and this is a problem for its main star too. For all of Neeson’s fans this is another good notch on their bedposts – but I doubt it will bring any newcomers to his admittedly large following, meaning he runs of the risk of being typecast.
Nevertheless, apart from a few lapses in special effects and a rather bland Julianne Moore, Non-Stop is definitely worth a watch – even if there may be a sense of deja vu.
https://moviemetropolis.net/2014/03/01/non-stop-review/
MichaelS (0 KP) rated Justice League (2017) in Movies
Feb 20, 2018
"Meanwhile, at the Hall Of Justice..."
This movie is the culmination of a childhood full of Saturday mornings in front of the tv in pajamas with a bowl of cereal. "Superfriends" was superheroes at it's most basic. The bad guys wanted to take over or destroy the world and the good guys have to stop them. That was the depth of the plots for both those classic cartoons, and this movie. It's pure cartoon fun brought to life, and I loved every minute of it.
The plot only serves as a reason for these heroes to come together. So you can say that story is not a top priority. Character is the name of the game here, and on that level, the movie is gold. Each character is fully realized, with their own individual situation they need to grow from. Every hero is given his or her moment to shine as an individual. When they stand as a team, it's some of the best superhero action we've ever gotten.
The performances of the League members is spot on across the board. Every character is presented exactly the way they should be. Ben Affleck continues to prove all the doubters wrong, by giving us the best live action version of Batman we've ever seen. Right from the start you see how he demands fear from evildoers, but filled with hope for the good things in the world. Gal Gadot IS Wonder Woman. If there was any doubt left after her solo movie, it should be thoroughly erased now. She's strong in body, mind, and spirit. Jason Mamoa forever erases the idea of Aquaman being the wimpiest superhero. His "surfer dude" take on the character brings all the recklessness and abandon you'd expect from a beach bum. He's almost like a Spartan soldier that lives for the excitement of battle. Ezra Miller brings a youthful excitement of someone who is simply jazzed by what he, and others, can do with their abilities. He's almost the comic relief until you realize that the excited reactions he gives to everything is exactly what we would to if we were dropped in that situation.
SPOILER TERRITORY....skip to "END SPOILERS" if you don't want anything ruined
Although it should really come as no surprise to anyone, Superman does indeed return from the dead in this movie. Not only is that he's resurrected very cool, but the aftermath gives us the best fight scene of the film. Superman vs The Justice League. 'nuff said? I've always loved Henry Cavill as Superman, but now he owns the role. He has grown from a man filled with self doubt, trying to find his place in the world, to a man who now fully realizes who he is, and what purpose he serves to mankind. Lots of great Superman stuff in this movie, and that is the thing I'm most thankful for.
END SPOILERS
This is the most fun I've had with a superhero movie in a long time. It may not have the deepest plot, but that is fine with me, because this is truly a comic book come to life. It's full of the action and joyful spirit that the boy in me tuned into every weekend. Now, if the post credit scene in the movie delivers, it REALLY will be everything that the classic Challenges Of The Superfriends, and reduce me to that boy in pajamas again, cereal in hand, and a smile on my face.
The plot only serves as a reason for these heroes to come together. So you can say that story is not a top priority. Character is the name of the game here, and on that level, the movie is gold. Each character is fully realized, with their own individual situation they need to grow from. Every hero is given his or her moment to shine as an individual. When they stand as a team, it's some of the best superhero action we've ever gotten.
The performances of the League members is spot on across the board. Every character is presented exactly the way they should be. Ben Affleck continues to prove all the doubters wrong, by giving us the best live action version of Batman we've ever seen. Right from the start you see how he demands fear from evildoers, but filled with hope for the good things in the world. Gal Gadot IS Wonder Woman. If there was any doubt left after her solo movie, it should be thoroughly erased now. She's strong in body, mind, and spirit. Jason Mamoa forever erases the idea of Aquaman being the wimpiest superhero. His "surfer dude" take on the character brings all the recklessness and abandon you'd expect from a beach bum. He's almost like a Spartan soldier that lives for the excitement of battle. Ezra Miller brings a youthful excitement of someone who is simply jazzed by what he, and others, can do with their abilities. He's almost the comic relief until you realize that the excited reactions he gives to everything is exactly what we would to if we were dropped in that situation.
SPOILER TERRITORY....skip to "END SPOILERS" if you don't want anything ruined
Although it should really come as no surprise to anyone, Superman does indeed return from the dead in this movie. Not only is that he's resurrected very cool, but the aftermath gives us the best fight scene of the film. Superman vs The Justice League. 'nuff said? I've always loved Henry Cavill as Superman, but now he owns the role. He has grown from a man filled with self doubt, trying to find his place in the world, to a man who now fully realizes who he is, and what purpose he serves to mankind. Lots of great Superman stuff in this movie, and that is the thing I'm most thankful for.
END SPOILERS
This is the most fun I've had with a superhero movie in a long time. It may not have the deepest plot, but that is fine with me, because this is truly a comic book come to life. It's full of the action and joyful spirit that the boy in me tuned into every weekend. Now, if the post credit scene in the movie delivers, it REALLY will be everything that the classic Challenges Of The Superfriends, and reduce me to that boy in pajamas again, cereal in hand, and a smile on my face.
BankofMarquis (1832 KP) rated The Big Short (2015) in Movies
Apr 19, 2020
Gets Better On Each Rewatch
Most of you reading this review remember the last time the U.S. had a downturn in it's economy - it was 2008 and the downturn was caused by a bubble that burst in the housing market. Michael Lewis' (author of MONEYBALL) book THE BIG SHORT attempted to explain what happend in lay man's terms. This books was considered "unfilmable" until the most unlikeliest of artists stepped in to make a wonderfully crafted and educational film that was also entertaining.
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
That person was Adam McKay - up until that time, known as the Director of such Will Ferrell films as STEP BROTHERS and ANCHORMAN.
Set in the timeframe right before - and during - the economic downturn (approx. 2006-2008), THE BIG SHORT follows 4 groups/individuals that begin to see that something is wrong - both with this seemingly "bullet proof" housing market and the institutions/regulations and governance around them.
Christian Bale is outstanding (and was nominated for an Oscar) for his work as Dr. Michael Burry a socially awkward genius who is the first to ferret out that something is wrong and "bets against the market". Bale's portrayal of a non-social (almost) recluse who speaks his mind is engaging and fascinating to watch. It was with this performance that I decided that Bale is, perhaps, the finest actor working today. Also stepping up his game - as a surprise to me - is Ryan Gosling as the narrator of this story. He has the right balance of charm and "smarminess" and often breaks the 4th wall to explain to us what is going on. Also on board, strongly, is Brad Pitt (one of the Producers of this film) as an ex-Wall Street maverick who is pulled back in by the opportunity this impending crash is creating.
But, the surprise to me in this film is the heart-breaking, gut-wrenching turn of Steve Carrell as Wall Street broker Mark Baum who's caustic personality hides some serious scars underneath and who takes the failures of "the system" to protect the people personally. Carrell was nominated for an Oscar the year before in his first major dramatic turn - FOXCATCHER - but I think his work here is stronger, more layered and nuanced and (if there is a hero in this story) had you rooting for this guy throughout the film.
But...none of this would have worked if McKay didn't figure out a way to make the boring-ness and tedium of explaining the housing financial system (tranches, CDO's, default swaps, etc) in such a way that educates and entertains the audience - and find a way he did. By pulling celebrities like Anthony Bordain, Selena Gomez and Margot Robbie in to break the 4th wall and explain extremely dry subject matter in such a way as to make it understandable and enjoyable, he makes this film succeed.
And, succeed it does, as it's 5 Oscar nominations (including Best Picture, Best Director and the aforementioned Best Supporting Actor nomination for Bale - a nomination that I would have been happy had Carrell gotten) would attest to - it did win the Oscar for Best Adapted Screenplay (for McKay and Charles Randolph).
This is a film that gets better for me on each rewatch, for I understand just a little more. If this is your 1st time watch - or your 10th - check out the BIG SHORT, it will be worth your time.
Letter Grade: A
9 stars (out of 10) and you can take that to the Bank(ofMarquis)
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