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Breach of Containment
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A reluctant hero must prevent war in space and on Earth in this fast-paced military science fiction...
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LoganCrews (2861 KP) rated The Rules of Attraction (2002) in Movies
Sep 21, 2020
Bracingly twisted, disturbing 110 minutes of sex-crazed, sleazebag college sociopaths and the unenviably depressing lives they lead. A more quintessential Bret Easton Ellis film than even đđźđŠđłđȘđ€đąđŻ đđŽđșđ€đ©đ° in showcasing his deliriously warped sense of the world. A university 'romance' drama soaked in booze, coke, apathy, sex, and a seething disdain for living well - naturally I loved it in all its parasitic debauchery. One of the most quietly experimental films of the early 2000s and also one of the fewer ones from that era that actually has a righteous soundtrack and tolerable sense of style. James Van Der Beek is a beast - existing on some other religious, primordial plane of existence that we can't comprehend in our current timeline just yet - and every other performance isn't too far behind. We should probably check up on the people who view this as some sort of misunderstood Truth Serum though, I just love it because it's fucked up tbh and I unashamedly dig me some rich slime. Loathes its characters but never superficially, like it *really* does - revels in the glee of inflicting cruelty on these horrid people but backs it up with tangible emotion to create this hypnotic clash of feelings. Couldn't take my eyes off it. I shudder to even use this now meaningless saying but... I'd be hard pressed to say you could have gotten away with making this today.
BankofMarquis (1832 KP) rated If Beale Street Could Talk (2018) in Movies
Jan 21, 2019
Starts slow...and then slows down...
Director/Writer Barry Jenkins scored an unexpected Oscar upset a few years ago when his film MOONLIGHT won the Best Picture Oscar (besting LA LA LAND), so it was with much anticipation that his follow-up film was coming out, just in time for Oscar consideration this year - and the Oscar Buzz was loud. So, I decided to check it out...
And...I'm glad I did, so I can warn you to stay away for IF BEALE STREET COULD TALK starts slow and then...slows down even more...and, if that isn't slow enough for you, kicks it down a couple of notches before finishing up on an even slower note.
Based on the best selling book by James Baldwin and telling the tale of a wrongfully incarcerated African-American man and his family, BEALE STREET is a languidly paced meditation on the constant living in fear of the African-American community in NYC in the early 1970's, and when "the system" fails this family, they are afraid of doing more for it might just make things worse.
The film starts out winningly enough when the 2 sets of parents of our young lovers get together to discuss the unexpected coming of a grandchild into this world. The 4 parents (Regina King, Coleman Domingo, Michael Beeach and Aunjanue Ellis) start out civilly, if coldly, but things quickly escalate into a crackling scene that explodes on-screen and I was looking forward to more of this foursome combating with each other for the rest of the film.
Unfortunately, the rest of the film focuses on the two young lovers (Kiki Layne and Stephan James) and these two are not charismatic or charming enough to hold the audience's attention during low-key scene after low-key scene.
Blame for this must go to Jenkins, who is making a very personal, intimate film, but - unlike something like ROMA - the world that this personal pastiche is thrown into is not interesting enough to hold interest nor are the pictures rich enough to look at, they are mostly washed out and boring.
Regina King is being touted as a "sure-fire" Academy Award nominee (and front runner to win the Best Supporting Actress Oscar) and I just don't see it. She was "fine" but nothing more in an underwritten role that was just as low-key and uninteresting as the rest of the film.
Give me the 4 parents feuding and we just might have an interesting film.
If you are looking for a low-key, moody film, check out ROMA, you can skip BEALE STREET.
Letter Grade: C
5 stars (out of 10) and you can take that to the Bank (of Marquis)
And...I'm glad I did, so I can warn you to stay away for IF BEALE STREET COULD TALK starts slow and then...slows down even more...and, if that isn't slow enough for you, kicks it down a couple of notches before finishing up on an even slower note.
Based on the best selling book by James Baldwin and telling the tale of a wrongfully incarcerated African-American man and his family, BEALE STREET is a languidly paced meditation on the constant living in fear of the African-American community in NYC in the early 1970's, and when "the system" fails this family, they are afraid of doing more for it might just make things worse.
The film starts out winningly enough when the 2 sets of parents of our young lovers get together to discuss the unexpected coming of a grandchild into this world. The 4 parents (Regina King, Coleman Domingo, Michael Beeach and Aunjanue Ellis) start out civilly, if coldly, but things quickly escalate into a crackling scene that explodes on-screen and I was looking forward to more of this foursome combating with each other for the rest of the film.
Unfortunately, the rest of the film focuses on the two young lovers (Kiki Layne and Stephan James) and these two are not charismatic or charming enough to hold the audience's attention during low-key scene after low-key scene.
Blame for this must go to Jenkins, who is making a very personal, intimate film, but - unlike something like ROMA - the world that this personal pastiche is thrown into is not interesting enough to hold interest nor are the pictures rich enough to look at, they are mostly washed out and boring.
Regina King is being touted as a "sure-fire" Academy Award nominee (and front runner to win the Best Supporting Actress Oscar) and I just don't see it. She was "fine" but nothing more in an underwritten role that was just as low-key and uninteresting as the rest of the film.
Give me the 4 parents feuding and we just might have an interesting film.
If you are looking for a low-key, moody film, check out ROMA, you can skip BEALE STREET.
Letter Grade: C
5 stars (out of 10) and you can take that to the Bank (of Marquis)
Kristy H (1252 KP) rated The Banker's Wife in Books
Mar 6, 2019
Great, exciting, tense novel
Annabel Lerner feels isolated in Geneva: she's not like the other bankers' wives, and she rarely sees her husband Matthew anymore. They moved to Geneva for a fresh start--and yes, to take advantage of the salary Matthew's private banking job at Swiss United offered. But Annabel never realized how stressed Matthew would be or how often he'd travel. And then, suddenly, he's gone: his private plane simply falling off the radar over the French Alps. Before she can even understand what's happening, Annabel is left to deal with the aftermath, including a trail of secrets and the powerful men at Swiss United who don't want them exposed. Meanwhile, Marina Tourneau is a reporter for The Press. Her mentor, Duncan Carr, has been chasing a story involving Morty Reiss, whose hedge fund was one of the largest Ponzi scams of all time. Supposedly, before he could get caught, Morty committed suicide. But Duncan and Marina believe Marty faked his death and Duncan has become obsessed with proving it--to the detriment of his health, his reputation, and his career. But Marina is also engaged to Grant Ellis, whose wealthy father, James, is about to run for President. The plan is for Marina to stop writing and stand by her man. But when she suddenly realizes she's on the trail of the story of her career, what will she do?
Well, this turned out to be a gem of a novel. When I first started reading it, I was a little worried that I wouldn't see what the fuss was all about, but things quickly picked up, and I was hooked. One of the best things about this novel is that it's an old-style thriller--it reminded me of old-school Grisham or Stieg Larsson. It even throws shade at the glutton of Girl books and their (annoying) unreliable narrators, which I love. This is a mystery for folks who love real stories without any fuss or distraction and with strong characters--all of which combine to leave you befuddled and anxious as everything slowly unfurls.
Alger takes us into the complicated and dark world of Swiss banking, where we are introduced to a lot of real bad guys who have no morals. You can't trust them, you know they are bad, and you know your heroes and heroines are in true danger. Rarely do I think this while reading a book (because, face it, the book is always better), but I really think this book would *actually* make a great movie. It's exciting and tense, and the way things are slowly revealed would make for a very effective film.
But, anyway, it's a wonderful novel. You quickly get sucked into Annabel and Marina's worlds--the majority of the story is told from their points of view. There's a decent amount of ancillary characters to keep track of, but it's certainly manageable. The best is not knowing who to trust, what to believe, or how things went down. There's that Girl with a Dragon Tattoo-reporting vibe that I love: the pleasure of solving a case. The story is set in 2015 but is completely timely, yet utterly timeless in its essence of greed, money, and fear--and what people do in the name of all three. I just loved the old-fashioned thrill of it, the long list of suspects, the excitement of trying to work out who did what.
Overall, this is just a great novel. The plot is excellent--tense, exciting, and expertly woven together. The characters are strong, but it's really the story that's the standout here. It truly reminds you of mysteries and thrillers of old (I sound ancient here, but whatever). Don't let the banking theme scare you off: this is a fabulous read, and if you're a mystery or thriller fan, I think you'll really enjoy this one. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Well, this turned out to be a gem of a novel. When I first started reading it, I was a little worried that I wouldn't see what the fuss was all about, but things quickly picked up, and I was hooked. One of the best things about this novel is that it's an old-style thriller--it reminded me of old-school Grisham or Stieg Larsson. It even throws shade at the glutton of Girl books and their (annoying) unreliable narrators, which I love. This is a mystery for folks who love real stories without any fuss or distraction and with strong characters--all of which combine to leave you befuddled and anxious as everything slowly unfurls.
Alger takes us into the complicated and dark world of Swiss banking, where we are introduced to a lot of real bad guys who have no morals. You can't trust them, you know they are bad, and you know your heroes and heroines are in true danger. Rarely do I think this while reading a book (because, face it, the book is always better), but I really think this book would *actually* make a great movie. It's exciting and tense, and the way things are slowly revealed would make for a very effective film.
But, anyway, it's a wonderful novel. You quickly get sucked into Annabel and Marina's worlds--the majority of the story is told from their points of view. There's a decent amount of ancillary characters to keep track of, but it's certainly manageable. The best is not knowing who to trust, what to believe, or how things went down. There's that Girl with a Dragon Tattoo-reporting vibe that I love: the pleasure of solving a case. The story is set in 2015 but is completely timely, yet utterly timeless in its essence of greed, money, and fear--and what people do in the name of all three. I just loved the old-fashioned thrill of it, the long list of suspects, the excitement of trying to work out who did what.
Overall, this is just a great novel. The plot is excellent--tense, exciting, and expertly woven together. The characters are strong, but it's really the story that's the standout here. It truly reminds you of mysteries and thrillers of old (I sound ancient here, but whatever). Don't let the banking theme scare you off: this is a fabulous read, and if you're a mystery or thriller fan, I think you'll really enjoy this one. 4+ stars.
I received a copy of this novel from the publisher and Netgalley in return for an unbiased review (thank you!).
Bob Mann (459 KP) rated If Beale Street Could Talk (2018) in Movies
Sep 28, 2021
Love and Rage against the machine.
The baby asked,
âIs there not one righteous among them?â
â James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpinâ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwinâs source book (requiring a speed read!) itâs used as a metaphor for the birthplace of every black person in America. (âEvery black person in America was born on Beale Streetâ). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the âP-wordâ, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend âFonnyâ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didnât commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tishâs virginity, and itâs done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for âinfrequent very strong language, strong sexâ â I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)âŠ. but not for the sex, which should be 12A).
Itâs a love story then? Well, yes, but offset against that, itâs a very angry film, seething with rage about how the police force and the justice system is set âagainst the black manâ. Director Barry Jenkins (of â eventual â Oscar winner âMoonlightâ fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didnât get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (âSelmaâ) as Tishâs father Joseph; Regina King as Tishâs mother Sharon; Michael Beach (âPatriots Dayâ) as Fonnyâs father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, Iâll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) â all very effective; there is a lot of earnest and quietly spoken dialogue between the characters â also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldnât make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isnât as overly intrusive as in films like âThe Hate U Giveâ, but it sounds like it was recorded in a dustbin! Itâs a bit like that effect you get with headphones where the plug isnât quite in the socket, and everything sounds way off and tinny. When combined with Layneâs accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
Thereâs a degree of bad language in the film, albeit mild in comparison to âThe Favouriteâ! Tishâs sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonnyâs âup-themselvesâ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I âget itâ (in the sense that I understand the perception) that this is a word that âonly black people can use between themselvesâ. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for âGreen Bookâ, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is âpretentiousâ. Barry Jenkins clearly feels he has something to prove after the success of âMoonlightâ, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best Iâve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too âartyâ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharonâs wig scene and a pan around Fonnyâs wood sculpture). It all seems to be âtrying too hardâ.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And Iâm a white Englishman commenting on it. Iâm clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the âBlack Lives Movementâ has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But Iâm sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. Itâs the film-makers right to make films about subjects dear to them. And Iâm sure this summer weâll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories â the positive side of race relations â are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasnât as much of a fan of âMoonlightâ as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
âIs there not one righteous among them?â
â James Baldwin, If Beale Street Could Talk
Beale Street refers to the jumpinâ heart of Memphis where Louis Armstrong was born. As explained in text from Baldwinâs source book (requiring a speed read!) itâs used as a metaphor for the birthplace of every black person in America. (âEvery black person in America was born on Beale Streetâ). But the story is set in Harlem, New York, and with this intellectual stretch, before I even get past the title, I am immediately reaching for the âP-wordâ, of which more later.
The Plot
Tish (KiKi Layne) is 19 and in love with her lifelong friend âFonnyâ (Stephan James). So much in love in fact (and so careless) that Tish is now pregnant with his child. Tish must break this news to both families herself, since Fonny is inside awaiting trial for a vicious rape that he claims he didnât commit. Tish and their joint families are trying to help, but can Fonny be released in time to see the birth of his child? Or are the institutions so set against him that release is impossible and death row might await?
Interwoven with Love and Anger
At its heart, this film portrays a truly beautiful love story. Tish and Fonny (both adorably played by the young leads) are friends becoming more than friends. We see their emerging love through flashback scenes. Some of these, particularly one on a metro train, are exquisitely done; long gazes into eyes, starting as one thing and ending as another.
In another scene, Fonny takes Tishâs virginity, and itâs done with style, taste and finesse. For younger teens this should be compulsory viewing as an antidote to all the horrible porn they are seeing on the internet: THIS is what sex, based on a foundation of true love, is all about. (The film is UK15 rated for âinfrequent very strong language, strong sexâ â I actually agree with the rating for the language (and actually I think an act of marital violence should also have also been referenced)âŠ. but not for the sex, which should be 12A).
Itâs a love story then? Well, yes, but offset against that, itâs a very angry film, seething with rage about how the police force and the justice system is set âagainst the black manâ. Director Barry Jenkins (of â eventual â Oscar winner âMoonlightâ fame) has a message to impart and he is intent on imparting it.
A great ensemble performance
The film didnât get a SAG nomination for the ensemble cast, but it almost feels that they missed out here. As well as the two young leads being spectacular, the whole of the rest of the cast really gel well together, particularly the respective parents: Colman Domingo (âSelmaâ) as Tishâs father Joseph; Regina King as Tishâs mother Sharon; Michael Beach (âPatriots Dayâ) as Fonnyâs father Frank and Aunjanue Ellis as his bible-bashing mother. A dramatic scene where they all collectively hear the news about the pregnancy is both comical and shocking in equal measure.
Poor sound mixing
If this film gets an Oscar nomination for sound, Iâll frankly be cross! There is significant use of sonorous, bass-heavy music and effects (including a lovely cello theme by Nicholas Britell) â all very effective; there is a lot of earnest and quietly spoken dialogue between the characters â also moody and effective. Unfortunately the two are mixed together in some scenes and frankly I couldnât make out what was being said. Most frustrating.
In addition, there is voiceover narration from Tish (if you follow my blog regularly you KNOW what I think about that!). Actually, this isnât as overly intrusive as in films like âThe Hate U Giveâ, but it sounds like it was recorded in a dustbin! Itâs a bit like that effect you get with headphones where the plug isnât quite in the socket, and everything sounds way off and tinny. When combined with Layneâs accent the effect, again, made the dialogue difficult to comprehend.
The c-word and the n-word
Thereâs a degree of bad language in the film, albeit mild in comparison to âThe Favouriteâ! Tishâs sister (Teyonah Parris) uses the c-word in one very funny dissing of Fonnyâs âup-themselvesâ sisters (Ebony Obsidian and Dominique Thorne). But the n-word is used repeatedly during the film, and that I can never get used to. I âget itâ (in the sense that I understand the perception) that this is a word that âonly black people can use between themselvesâ. But this just feels elitist and wrong to me. At a time when Viggo Mortensen gets crucified for using it once (while being descriptive and in-context) during a press junket for âGreen Bookâ, I just feel that if a word is taboo it should be taboo, period.
The p-word
My p-word here is âpretentiousâ. Barry Jenkins clearly feels he has something to prove after the success of âMoonlightâ, and there are certainly moments of directorial brilliance in the film. As previously mentioned, the sex scene is one of the best Iâve seen in a long while. Also beautifully done are a birthing scene and two confrontational scenes in Puerto Rico. But there are also moments that seem to be staged, artificial and too âartyâ for their own good. Any hidden meaning behind them completely passed me by. (Examples are Sharonâs wig scene and a pan around Fonnyâs wood sculpture). It all seems to be âtrying too hardâ.
Hate for the police is also writ large on the film, with every discriminatory police officer in the whole of the US embodied in the wicked sneering face of the police office Bell (Ed Skrein).
A platform that should be used for more than ranting
This is a film written and directed by an American black man (Jenkins) and largely fully cast with American black people. And Iâm a white Englishman commenting on it. Iâm clearly unqualified to pass judgement on how black America really feels about things! But comment I will from this fug of ignorance.
It feels to me that the âBlack Lives Movementâ has given, at long last, black film-makers like Jenkins a platform in cinema to present from. This is a great thing. But Iâm sensing that at the moment the tone of the output from that platform (such as this film) seems to me heavily tinged with anger: a scream of frustration about the system and racial injustice over the years. Itâs the film-makers right to make films about subjects dear to them. And Iâm sure this summer weâll sadly again see atrocities as previously seen in the likes of Ferguson and Dallas, fuelling the fire of hate. But I would personally really like to see someone like Jenkins use his undoubted talents to make a more uplifting film: a film reflecting the more positive strives that are happening in society, allowing for people of all races and all sexual orientations to make their way in business (not drug-running or crime!) and/or life in general. Those good news stories â the positive side of race relations â are out there and my view is that someone like Barry Jenkins should be telling them.
Final thoughts
I wasnât as much of a fan of âMoonlightâ as the Academy, and this film also left me conflicted. The film is well-made and the cast is very engaging. It also has a love story at its heart that is moody but well-done. Overall though the movie felt over-engineered and a little pretentious, and that knocked it down a few pegs for me.
Bob Mann (459 KP) rated The Greatest Showman (2017) in Movies
Sep 29, 2021
This IS the Greatest Show!
I sometimes wonder how âproperâ UK film critics view films early for review. Is there a âspecial screeningâ which all the film critics attend in London? The point Iâm getting at is whether the collective critical opinion of a movie can be swayed by a critic leaping to their feet and wildly applauding a film like âStar Wars: The Last Jediâ or, alternatively, snorting in derision at a film like âThe Greatest Showmanâ. For sometimes the critics seem to get it massively wrong across the board, panning a film that the general public will adore. Unfortunately, this has the effect of putting the general public off seeing it, especially in the lethargic post-Christmas period. I think here is a case in point. Itâs not the best little film in the world, but as a musical crowd-pleaser it delivers in spades.
Will you like âThe Greatest Showmanâ? This will be dictated almost entirely by whether you are a âmusicalsâ person or not! For âThe Greatest Showmanâ is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40âs and 50âs than âLa La Landâ was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailorâs assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnumâs â now Hugh Jackman (âLoganâ) and Michelle Williams (âManchester By The Seaâ) â are barely scraping a living. But Barnum has âA Million Dreamsâ and hits on the novel idea of opening an entertainment (coined âa circusâ by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnumâs show is shockingly entertaining â as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnumâs endless ambition drives him to break his social ceiling by importing the âSwedish songbirdâ, opera singer Jenny Lind (Rebecca Ferguson, âMission Impossible: Rogue Nationâ, âThe Snowmanâ) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As Iâve said, most critics have been making sniffy noises about this film. But I am not one of themâŠ. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but itâs a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the âshoutyâ end of the scale in many of the numbers. Heâs joined here by fellow musicals star Zac Efron (letâs forget âDirty Grandpaâ) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (âSpider-Man: Homecomingâ) as Efronâs (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (âRewrite The Starsâ) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers âThis is Meâ (although she is a little âshrillâ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the âgreatest singer in the worldâ â but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of âThe Voiceâ). It is a bit of a shock when âthe great opera singerâ opens her mouth and a modern love song comes out, but once you get over that then the combination of Fergusonâs acting and Allredâs singing makes âNever Enoughâ one of the standout songs in the movie. (Itâs been described as âa bit Eurovisionâ by Kevin Maher, âThe Timesâ critic, which I can see but I donât care! I find it marvellously moving).
A dangerous songbirdâs nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you havenât guessed it, there are some fantastic songs in this movie, written by âLa La Landâ song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (Iâm not sure what the cut-off would be for the 2018 Oscars?).
Thereâs also a lot of talent in the backroom with production design and memorable costumes. Where Iâd single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of âbeatsâ in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever âtransitionâ shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like âLes Miserablesâ and âLa La Landâ has set the bar high, and returning to the norm (I had the same problem with âBeauty and the Beastâ) becomes noticeable and irritating to me. (Perhaps this is just me!).
Itâs certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.
Will you like âThe Greatest Showmanâ? This will be dictated almost entirely by whether you are a âmusicalsâ person or not! For âThe Greatest Showmanâ is a frothy, very loud, cheesy and high-energy musical, much more aligned, in fact, to the mainstream genre from the 40âs and 50âs than âLa La Landâ was.
Roll up, roll up. The circus cast entertain.
In a VERY loose interpretation of the early life of Phineas Taylor Barnum, the American huckster and impressario, we start the story with a pre-pubescent Barnum (Ellis Rubin, sung by Ziv Zaifman) as a young tailorâs assistant punching above his weight with young socialite Charity (Skylar Dunn), firmly against the wishes of her father. Spin forward (via song) and the hitched Barnumâs â now Hugh Jackman (âLoganâ) and Michelle Williams (âManchester By The Seaâ) â are barely scraping a living. But Barnum has âA Million Dreamsâ and hits on the novel idea of opening an entertainment (coined âa circusâ by journalist James Gordon Bennett (Paul Sparks)) where he offers both respect and a family to those of the city who are deformed, rejected and socially shunned. Barnumâs show is shockingly entertaining â as in both filling seats and shocking the morally-self-righteous upper classes. But never one to rest on his laurels, Barnumâs endless ambition drives him to break his social ceiling by importing the âSwedish songbirdâ, opera singer Jenny Lind (Rebecca Ferguson, âMission Impossible: Rogue Nationâ, âThe Snowmanâ) ), for an ambitious and extravegant tour of the States. All does not exactly go to plan.
Washing day tunes. Hugh Jackman and Michelle Williams take to the rooftops.
As Iâve said, most critics have been making sniffy noises about this film. But I am not one of themâŠ. I LOVED IT, have already bought the glorious soundtrack album and will be looking forwards to the DVD release. For this is joy in a box. Sure, the story is a bit weak, the characterisations of everyone (other than Barnum) pretty lightweight, but itâs a musical extravaganza! Live with it!
Hugh Jackman, who of course started his career in stage musicals, is marvellously charismatic as Barnum although his singing does tend to the âshoutyâ end of the scale in many of the numbers. Heâs joined here by fellow musicals star Zac Efron (letâs forget âDirty Grandpaâ) as the fictitious Phillip Carlyle: a socialite playwright and partner.
But the acting and singing revelation for me was Zendaya (âSpider-Man: Homecomingâ) as Efronâs (scandalous) inter-racial love interest, who has a fantastically athletic body, sings and dances wonderfully and has a magnetic stare. A marvellous trapeze routine between Efron and Zendaya (âRewrite The Starsâ) is one of the high-spots of the film for me.
An energetic dance. Zendaya and Efron take to the skies.
Elsewhere Williams proves she has a singing voice as well as being a top flight actress and the bearded lady (Broadway star Keala Settle) belts out one of the show-stopping numbers âThis is Meâ (although she is a little âshrillâ for my musical tastes).
It would be nice to extend that compliment to the wonderful Rebecca Ferguson as the âgreatest singer in the worldâ â but she is (wisely I think) dubbed here by Loren Allred (a finalist on the US version of âThe Voiceâ). It is a bit of a shock when âthe great opera singerâ opens her mouth and a modern love song comes out, but once you get over that then the combination of Fergusonâs acting and Allredâs singing makes âNever Enoughâ one of the standout songs in the movie. (Itâs been described as âa bit Eurovisionâ by Kevin Maher, âThe Timesâ critic, which I can see but I donât care! I find it marvellously moving).
A dangerous songbirdâs nest for the married Barnum. Rebecca Ferguson and Hugh Jackman.
If you havenât guessed it, there are some fantastic songs in this movie, written by âLa La Landâ song composers Benj Pasek and Justin Paul and at least one of these surely must be Oscar nominated (Iâm not sure what the cut-off would be for the 2018 Oscars?).
Thereâs also a lot of talent in the backroom with production design and memorable costumes. Where Iâd single out particular praise though is in the choreography and the editing on show.
Firstly, the choreography of âbeatsâ in the song to the action on screen is brilliantly done, done, probably at its most impressive in a shot-glass bar-room scene between Jackman and Efron. And never (hats off to the special effects guys and cinematographer Seamus McGarvey) have you seen washing on a washing line so cleverly in time with the music.
Secondly in terms of the film editing, I am a sucker for clever âtransitionâ shots, and there are some in this movie that just took my breath away: a transition to a pregnant Charity; a transition from ballet practice to ballet performance; there are numerous others!
Inverted magnetism. Zendaya as the trapeze artist Anne Wheeler.
I have decided to park some of my minor criticisms within the greater joy of the whole: some of the dialogue (by Jenny Bicks and Bill Condon) is as cheesy as hell, but probably no more so than in some of the Judy Garland/Mickey Rooney musicals. Where I had my biggest problem is in some of the lip synching to the songs. This is an age where the live recording of songs in films like âLes Miserablesâ and âLa La Landâ has set the bar high, and returning to the norm (I had the same problem with âBeauty and the Beastâ) becomes noticeable and irritating to me. (Perhaps this is just me!).
Itâs certainly not a perfect film, but its energy and drive carry it through as a memorable movie musical that may well take on a life of its own as word-of-mouth gets it more widely viewed (outside of the rather difficult Christmas holiday season). It would also be a good film for youngsters, with a bit of judicious editing (there is one moment of violence in the first 10 minutes that I would choose to edit out). From my perspective it is certainly a truly impressive debut for advert director Michael Gracey. Recommended for musical fans.