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The Electrical Life of Louis Wain (2021)
7.0
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English artist Louis Wain rises to prominence at the end of the 19th century for his surreal cat...
Benny Loves You (2019)
8.0
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Jack, a man desperate to improve his life throws away his beloved childhood plush, Benny. It's a...
BankofMarquis (1832 KP) rated The Electrical Life of Louis Wain (2021) in Movies
Jan 17, 2022
1/2 of a GREAT Movie
It is a fun surprise to be perusing all the streaming services available and tripping across a very entertaining film that, heretofore, was unknown.
Such was the case with THE ELECTRICAL LIFE OF LOUIS WAIN - a biography (of sorts) of the eponymous English painter, known for his fanciful portraits of cats.
Starring Benedict Cumberbatch (in the title role) and Written and Directed by Will Sharpe (BLACK POND) based on a story by Simon Stephenson (who also co-wrote the screenplay with Sharpe), THE ELECTICAL LIFE OF LOUIS WAIN is 1/2 of a very good (maybe even GREAT) film that falls apart in the 2nd half.
The first half of this film finds the eccentric Wain finding love and discovering his artistic talent. It is this 1/2 of the film that draws you in - and must have been what drew the talents of Sharpe, Claire Foy (Queen Elizabeth in the first few seasons of THE CROWN) and Cumberbatch to this film. Cumberbatch, of course, is superb as Wain (especially in this first half) and his chemistry with Foy (who plays his love interest/wife) is tremendous and IS the reason to see this film.
However, the film shifts focus, by necessity, in the 2nd half to the rising stardom of Wain and his descent into madness. Toby Jones (as his benefactor) and the always under-rated Andrea Riseborough (OBLIVION) take center stage with Cumberbatch in this part of the film and the love, fun, whimsey and depth of the first 1/2 of the film disappears. Riseborough, particularly, suffers from a poorly written role where her character - Wain’s disapproving sister - is (in essence) the “bad guy”, so Sharpe and Stephenson replace love, warmth and support with disapproval, anger and madness. While this is true to the life that Wain lived, it didn’t make for a particularly interesting 2nd half of a film.
Come for Benedict’s and Foy’s chemistry and performances, stay for the rest because…well…it’s still pretty good.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Such was the case with THE ELECTRICAL LIFE OF LOUIS WAIN - a biography (of sorts) of the eponymous English painter, known for his fanciful portraits of cats.
Starring Benedict Cumberbatch (in the title role) and Written and Directed by Will Sharpe (BLACK POND) based on a story by Simon Stephenson (who also co-wrote the screenplay with Sharpe), THE ELECTICAL LIFE OF LOUIS WAIN is 1/2 of a very good (maybe even GREAT) film that falls apart in the 2nd half.
The first half of this film finds the eccentric Wain finding love and discovering his artistic talent. It is this 1/2 of the film that draws you in - and must have been what drew the talents of Sharpe, Claire Foy (Queen Elizabeth in the first few seasons of THE CROWN) and Cumberbatch to this film. Cumberbatch, of course, is superb as Wain (especially in this first half) and his chemistry with Foy (who plays his love interest/wife) is tremendous and IS the reason to see this film.
However, the film shifts focus, by necessity, in the 2nd half to the rising stardom of Wain and his descent into madness. Toby Jones (as his benefactor) and the always under-rated Andrea Riseborough (OBLIVION) take center stage with Cumberbatch in this part of the film and the love, fun, whimsey and depth of the first 1/2 of the film disappears. Riseborough, particularly, suffers from a poorly written role where her character - Wain’s disapproving sister - is (in essence) the “bad guy”, so Sharpe and Stephenson replace love, warmth and support with disapproval, anger and madness. While this is true to the life that Wain lived, it didn’t make for a particularly interesting 2nd half of a film.
Come for Benedict’s and Foy’s chemistry and performances, stay for the rest because…well…it’s still pretty good.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank (ofMarquis)
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
