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Bob Mann (459 KP) rated Bridget Jones's Baby (2016) in Movies
Sep 29, 2021
Come the F*** on Bridget… who’s the Daddy?
The world’s favourite lonely-hearts diarist is back. Bridget (Renée Zellweger) once again starts the film ‘all by herself’, haunted by occasional meetings with ex-flame Mark D’Arcy (Colin Firth) – now married to Camilla (Agni Scott) – and facing the natural discomfort of the early funeral of another friend who has died way too young. And at 43, Bridget’s biological clock is also ticking towards parental midnight.
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Proving that enormous ditzyness and lack of talent need not be an impediment to a successful career, Bridget is now a top TV floor manager on a cable news station, anchored by friend Miranda (an excellent Sarah Solemani). In an effort to shake Bridget out of her malaise, Miranda takes her to a music festival (featuring some fun cameos!) where she has a one-night-stand with the delectable (speaking at least for all the women in my audience) Jack (Patrick Dempsey). Following another one-night-stand with D’Arcy and finding herself pregnant, a comedy of farce follows with one expectant mother and two prospective fathers competing for Bridget’s affections.
OK. So it’s not bloody Shakespeare. But it is an extremely well-crafted comedy, and as a British rom-com it significantly out-does many of the efforts of the rom-com king – Richard Curtis – in recent years. As a series its just amazing how many of the original cast have been reunited after 2004’s rather lacklustre “Bridget Jones: Edge of Reason”. Particularly effective are Bridget’s parents, played by the delectably Tory Gemma Jones and the ever-perfect Jim Broadbent. And Bridget’s trio of irreverent friends: Shazzer (Sally Phillips), Jude (Shirley Henderson) and Tom (James Callis) are all back. All are either well into parenthood or have impending parenthood, adding to the pressure on Bridget’s aching ovaries.
New to the cast, and brilliant in every scene she’s in, is the ever-radiant Emma Thompson as Bridget’s doctor. Is there any actress in the movies today that can deliver a comic line better-timed than Thompson? I doubt it. Just superb. And Thompson also co-wrote the screenplay, together with Bridget author Helen Fielding and – an unlikely contributor – Ali G collaborator Dan Mazer. All contribute to a sizzling script – not based on Fielding’s poorly received story – that zips along and makes the 123 minute run-time fly by. My one reservation would be – despite the film being set in the current day – lapses into internet memes like Hitler Cats and song crazes that are at least five years out of date. But I forgive that for the Colin Firth ‘Gangnam’ line, for me the funniest in the whole film.
Zellweger looks fantastic, pulling off the 4 year age difference from her character with ease. And isn’t it wonderful to see a middle-aged character as the centre of a rom-com for once? Hollywood would be well to remember that romance is not restricted to the 20-somethings. Certainly the packed cinema – filled with probably 90% (well oiled) women – certainly thought so, in what was a raucous and entertaining showing!
The music is superbly supported by an epic soundtrack of well-chosen tracks from Ellie Goulding, Years and Years, Jess Glynne, Lily Allen (with very funny adult content!) and classic oldies, all wrappered with nice themes by the brilliant and underrated Craig “Love Actually” Armstrong.
Sharon Maguire – the director of the original “Diary” – has delivered here a fun, absorbing and enormously entertaining piece of fluff that deserves to do well. And it has in the UK, making $11M in its opening weekend here and playing to packed showings. However – incomprehensibly – it has bombed in the US with only $8M coming in. Hopefully it might prove a bit of a sleeper hit there: come on America… we go to see all of the rubbish rom-coms you send over here, and this is way better than most of those!
This was a film I was determined to be sniffy about with my rating. But as a) I enjoyed it very much and b) a packed audience of women can’t be wrong…
Gareth von Kallenbach (980 KP) rated Brave (2012) in Movies
Aug 7, 2019
The digital wizards at Pixar have an incredible dossier of Academy award-winning animated films. Their latest film “Brave“, is a prime example of the bold new direction for the company behind such classics as “Finding Nemo“, “Toy Story“, “The Incredible’s“, and “Monsters, Inc.” just to name a few. This time out Scotland provides the setting for the animation masters to weave their magic, and they do in a splendid 3-D feast of sight, sound, and color that captures the breathtaking beauty of the Scottish Highlands.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
For Princess Merida (Kelly Madonald), life is filled with joy and frustration. As the daughter to King Fergus (Billy Connolly), and Queen Elinor (Emma Thompson), she has to walk a fine line between the duties and expectation of her mother and her freewheeling lifestyle of daring and adventure. The young Princess is content to ride through the countryside astride her horse Angus, and perfect her already admirable archery skills.
When Merida learns that her parents have summoned the other major clans so that a worthy suitor can be chosen, Merida rebels openly at their plan and causes great embarrassment to her family during a competition. In a fit of rebellious anger, Merida rides into the woods, and comes upon a witch who promises to create for the young princess a spell that will forever change her destiny. Although not done out of malice, the spell has some on expected consequences that threatens the future of the kingdom as well as the safety of Merida’s family.
The film has some outstanding performances, not the least of which is Connolly, who was an absolute delight whenever his character was on screen. Supporting work by Craig Ferguson and Robbie Coltrane complement the leads well. Since my mother is a Scot, I am all-too-familiar with not only the history but culture of Scotland. I had been concerned when I first heard the project that it would play up on certain stereotypes and miss the true complexity and splendor of Scotland and its people, as well as it’s extremely rich history which is filled with numerous technical and literary achievements over the centuries.
Thankfully my concerns were allayed very early in the film not simply because of the amazing visual detail of the movie but also because of the lovable but quirky characters. The writers and animators managed to capture the very nature of the people and the culture, which is no easy thing in an animated film. Kudos for the casting of the mostly Scottish cast who played their roles with relish. I can honestly say hearing King Fergus address the clans brought to mind my aunts, uncles and cousins thanks to the distinct Scottish brogue. I especially liked the fact that when conflict erupted (of course) amongst even the best of friends, there are some very clever ways that laughs were gained without turning the characters into buffoons or being overly cute.
While the film plays it fairly safe with the story, Pixar’s first female heroine gives us a very fun and enjoyable tale that offers something for the entire family without talking down to the audience or having to resort to crude humor. A few scenes may be a bit intense for youngsters and while it will not be cited for any technological breakthroughs Brave, nonetheless, is highly entertaining.
BankofMarquis (1832 KP) rated Cruella (2021) in Movies
Jun 13, 2021
Fights to find the right tone - but succeeds more than it fails
The new Disney live action film CRUELLA (telling the origin story of one of the most well known villains in Disney animation history) is one of those strange films that is trying to walk a thin line between “G” rated “kid” entertainment and an “R” rated film intended for a more “mature” audience.
An that, ultimately, is the issue with this film, it bounces around tonally - sometimes bumping up against the “G” rating and often times landing closer to the “R”, so that, in the end, it will not be a totally satisfying experience for either the “G” or the “R” crowd.
Emma Stone takes on the title role of CRUELLA and in this film you watch her become the Cruella DeVille that you see in the Disney Animated Film (and the Glenn Close live action remake). Stone is very good in this role - almost a perfect fit. However, it looks to me that she is having a much better time playing the evil “R” rated version of Cruella rather then the comic-bookish “G” rated version, so her performance is, at times, brilliant and at other times, not as brillaint.
Emma Thompson steals just about every scene she is in as Cruella’s nemesis “The Baroness”. It’s good to see this terrific actress getting a role that she can really sink her teeth in. I hope this leads to other, strong important roles for this actress “of a certain age”.
The supporting players are strong…or should I say…Mark Strong (hehehehe). He brings his usual gravitas to the role of The Baroness’ right-hand man. But the players who impressed me the most were Joel Fry (YESTERDAY) and Paul Walter Hauser (RICHARD JEWELL) as Cruella’s 2 best friends/henchmen. They both were able to flesh out these characters (who are usually portrayed as bumbling buffoons) and both were able to find the line between “G” and “R” very well - and stay on it the entire film.
Director Craig Gillespie (I, TONYA) finds the correct tone for this film more often than not, but it is in the “not” portion of this that he fails this movie. The shifts in tone (often on a dime) are often jarring and the blame for this would have to be put right at the Director’s feet, though the look of this film (sort of a 1960’s Austin Powers meets SteamPunk look) succeeds VERY well and is as much a character in this film as the performers.
One final thing, the soundtrack used in CRUELLA is an interesting touch. Gillespie and Composer Nicholas Britell eschews (for the most part) a conventional score and highlights most of the scenes with a Pop song - though here Gillespie whips us around tonally as well. For, since the film is set in 1960’s London, a good many of the tunes used are ‘60 (and early ‘70’s) rock hits. But….every now and then…he will drop in a ‘80’s number.
But…as I sit and write this review, I am finding myself falling more and more on the side of “I Liked It”, so…set aside the tonal shifts…and you will be entertained by CRUELLA much more than you would expect.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)
An that, ultimately, is the issue with this film, it bounces around tonally - sometimes bumping up against the “G” rating and often times landing closer to the “R”, so that, in the end, it will not be a totally satisfying experience for either the “G” or the “R” crowd.
Emma Stone takes on the title role of CRUELLA and in this film you watch her become the Cruella DeVille that you see in the Disney Animated Film (and the Glenn Close live action remake). Stone is very good in this role - almost a perfect fit. However, it looks to me that she is having a much better time playing the evil “R” rated version of Cruella rather then the comic-bookish “G” rated version, so her performance is, at times, brilliant and at other times, not as brillaint.
Emma Thompson steals just about every scene she is in as Cruella’s nemesis “The Baroness”. It’s good to see this terrific actress getting a role that she can really sink her teeth in. I hope this leads to other, strong important roles for this actress “of a certain age”.
The supporting players are strong…or should I say…Mark Strong (hehehehe). He brings his usual gravitas to the role of The Baroness’ right-hand man. But the players who impressed me the most were Joel Fry (YESTERDAY) and Paul Walter Hauser (RICHARD JEWELL) as Cruella’s 2 best friends/henchmen. They both were able to flesh out these characters (who are usually portrayed as bumbling buffoons) and both were able to find the line between “G” and “R” very well - and stay on it the entire film.
Director Craig Gillespie (I, TONYA) finds the correct tone for this film more often than not, but it is in the “not” portion of this that he fails this movie. The shifts in tone (often on a dime) are often jarring and the blame for this would have to be put right at the Director’s feet, though the look of this film (sort of a 1960’s Austin Powers meets SteamPunk look) succeeds VERY well and is as much a character in this film as the performers.
One final thing, the soundtrack used in CRUELLA is an interesting touch. Gillespie and Composer Nicholas Britell eschews (for the most part) a conventional score and highlights most of the scenes with a Pop song - though here Gillespie whips us around tonally as well. For, since the film is set in 1960’s London, a good many of the tunes used are ‘60 (and early ‘70’s) rock hits. But….every now and then…he will drop in a ‘80’s number.
But…as I sit and write this review, I am finding myself falling more and more on the side of “I Liked It”, so…set aside the tonal shifts…and you will be entertained by CRUELLA much more than you would expect.
Letter Grade: B+
7 1/2 (out of 10) stars and you can take that to the Bank (ofMarquis)