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Lee (2222 KP) rated Greed (2019) in Movies
Jan 29, 2020
On the Greek island of Mykonos, preparations are well underway for the lavish Gladiator themed 60th birthday party of multi-millionaire and 'king of the high-street', Sir Richard 'Greedy' McCreadie (Steve Coogan). A journalist turned biographer (David Mitchell) is on hand to document McCreadie's life story and some of his interviews with various acquaintances and family members combine with present day events to form a mockumentary style movie which gives us a closer look at how he went from ruthless young schoolboy to ruthless self-made millionaire.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
It's 5 days until the party. Construction on a huge wooden Colosseum is progressing slowly, and a nearby caged lion is to be involved in a series of gladiator themed games for the event. Although, as McCreadies moody teenage son (Asa Butterworth) snarkily points out, it was actually tigers that featured in the movie Gladiator and not lions. Discussions are also taking place as to where the firework display will be and where Fatboy Slim and Coldplay will be performing, overseen by McCreadie himself, all fake tan and bright white teeth. His first wife (Isla Fisher) arrives with her new partner and everyone is under pressure to be ready in time.
We're taken right back to the beginning and Richards public school years. A rather unpleasant young Richard (Jamie Blackley) is back-chatting his teachers and playing cards with the other students for money. When his mother (Shirley Henderson) is called into the school, there is a heated exchange in the headmasters office and Richard ends up leaving the school. We then follow him out into the big wide world, wheeling and dealing in the fashion business, confident and persistent until he has managed to land himself a small shop and enough stock to start undercutting some of his nearby rivals. It's not long until Richard is heading out to Sri Lanka, meeting up with sweatshop managers in order to play them off against each other for the lowest possible price in order to secure himself a huge profit. As Richard grows up into the version played by Coogan, there continues to be a steady stream of different clothing shops, big ideas, dodgy deals and plenty of mishaps for him to tackle in what are some of the films funnier scenes.
Greed takes a real scatter-gun approach to plots and scenes, which for the most part don't really work. There is a completely pointless and dull subplot involving a reality TV show that's being filmed on and around the beach, with another concerning a group of Syrian refugees who have the cheek to be camped out on the beach where the party is due to take place. We zip back and forth in time, occasionally dipping into a hearing regarding Sir Richard's tax avoidance antics over the years and there's never really enough time, or enough of a decent script, to make any of it very interesting or funny. The character of McCreadie, who is clearly loosely based on Topshop CEO Philip Green, is basically just a variation of Alan Partridge, slightly different voice, some extra swearing and anger thrown in, only less funny. The movie even features Tim "Sidekick Simon" Key from the Partridge shows as an exasperated employee, trying to keep the building of the Colosseum on track with a diminishing workforce. There are plenty of celebrity cameos shoehorned in too and the whole thing is just very hit and miss. But mostly miss.
Greed concludes by showing us some pretty sobering facts and figures. We're informed that the 26 richest men in the world hold more wealth than that of the 3.6 billion poorest combined. We learn just how little the women in countries such as Sri Lanka and Bangladesh earn in return for their long days putting together high street clothes, while the biggest names in retail turnover millions in profits each year. And we hear about the plight of the Syrian refugees trying to make their way to Greece. The greed and injustice of it all really hits home, and it does so far more effectively here than during the the rest of the movie.
Emma @ The Movies (1786 KP) rated A Guide To Second Date Sex (2020) in Movies
Feb 17, 2020
Talk about burying the lead. Marie Claire offered its readers the chance to see A Guide To Second Date Sex free online for Valentine's Day, after seeing the cute little into from the lead actors I knew I had to give it a try.
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, đŹ]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, đŹ]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, đŹ]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, đŹ]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
Ivana A. | Diary of Difference (1171 KP) rated Beast Rider in Books
Oct 5, 2020
A fantasy that stays true to many young people, that dare cross a border, searching for a better life. A fantasy, but also a cruel reality of what truly happens to these young boys and girls, and all the journeys they have to go through, fighting for a better tomorrow.
This is the first book I have read by Tony Johnston, and the reason I chose to read Beast Rider was because we get to see a twelve-year-old Manuel leave his small town in Mexico to join his older brother in the US.
As a girl myself, I had a family member that lived in another country, and I have always had my inner battle of going abroad to search for a better tomorrow and sadness of leaving my old life behind. With Manuel, you get to feel his hopes and fears, his nostalgia for his hometown and family, his thoughts and learnings at every step of his journey.
A few points bothered me slightly; the grammar in this book needs to be edited immediately. The character keeps using two words in a row row, and after a while while, it gets quite off putting off putting (you see what I mean?). I truly hope this is editing mistake, and not a writing style. There are a lot of Mexican words, without any glossary included. I can understand the words, but some people wouldnât â and not being able to know the meaning can be a nuisance.
While reading about the journey of Manuel, I couldnât help but remember exactly how I felt in a few points of my journey:
To Go or Not To Go
Manuelâs brother left the small Mexican village and now lives in Los Angeles. Manuel loves his big brother, and wants to join him desperately. He secretly plans his journey and decides to leave the town, after a lot of hesitation, in order to find his older brother. The battle between to go or not to go is the biggest battle one person can have with themselves. It is always hard, no matter which way one decides to go. And when Manuel decides it is time to go, I knew exactly how he felt, when I myself made that hard decision as well, and left my comfortable home to go and live in a foreign country.
The Journey To a Better Tomorrow
Manuelâs journey is not easy at all. In order to cross the US border, he had to become a ââbeast riderââ â someone who hops on a train. He tries multiple times, and various unlucky things happen to him, he gets stopped by the police, he is attached by a gang, people steal his most valuable items. But despite everything, Manuelâs spirit never leaves him, he is always hopeful he will find his brother soon. I loved the motivation and determination in the young Manuel, and it is so amazing to watch him grow through his experiences.
The Final Destination â Was This What I Really Wanted?
After all his endeavours, we finally get to see Manuel reunite with his brother. But what happens if you finally reach your destination, and this happens to not be what you wanted to? Manuel struggles to fit in this lifestyle, he canât recognise himself, or his brother, and he is emotionally wrecked. He misses his family back home, and he realises that what he thought he would achieve once he finds his brother is not happening. When you feel all roads are closing on you, it is time to make a decision. And making his final decision, Manuel proves to have grown so much, and I admired him this entire book.
A beautiful story about all the emotions and journeys that young people go to. We all have dreams, and some of us reach for them, and act on them. Sometimes, these dreams turn out to be our life-changers, and sometimes, these dreams seem great, but are not ours to take. And this book showed me that thatâs fine too. Itâs okay to realise you suddenly donât belong. Itâs okay to act on your dreams, and itâs also okay to make mistakes. As long as you stay true to yourself, everything will be alright.
This is the first book I have read by Tony Johnston, and the reason I chose to read Beast Rider was because we get to see a twelve-year-old Manuel leave his small town in Mexico to join his older brother in the US.
As a girl myself, I had a family member that lived in another country, and I have always had my inner battle of going abroad to search for a better tomorrow and sadness of leaving my old life behind. With Manuel, you get to feel his hopes and fears, his nostalgia for his hometown and family, his thoughts and learnings at every step of his journey.
A few points bothered me slightly; the grammar in this book needs to be edited immediately. The character keeps using two words in a row row, and after a while while, it gets quite off putting off putting (you see what I mean?). I truly hope this is editing mistake, and not a writing style. There are a lot of Mexican words, without any glossary included. I can understand the words, but some people wouldnât â and not being able to know the meaning can be a nuisance.
While reading about the journey of Manuel, I couldnât help but remember exactly how I felt in a few points of my journey:
To Go or Not To Go
Manuelâs brother left the small Mexican village and now lives in Los Angeles. Manuel loves his big brother, and wants to join him desperately. He secretly plans his journey and decides to leave the town, after a lot of hesitation, in order to find his older brother. The battle between to go or not to go is the biggest battle one person can have with themselves. It is always hard, no matter which way one decides to go. And when Manuel decides it is time to go, I knew exactly how he felt, when I myself made that hard decision as well, and left my comfortable home to go and live in a foreign country.
The Journey To a Better Tomorrow
Manuelâs journey is not easy at all. In order to cross the US border, he had to become a ââbeast riderââ â someone who hops on a train. He tries multiple times, and various unlucky things happen to him, he gets stopped by the police, he is attached by a gang, people steal his most valuable items. But despite everything, Manuelâs spirit never leaves him, he is always hopeful he will find his brother soon. I loved the motivation and determination in the young Manuel, and it is so amazing to watch him grow through his experiences.
The Final Destination â Was This What I Really Wanted?
After all his endeavours, we finally get to see Manuel reunite with his brother. But what happens if you finally reach your destination, and this happens to not be what you wanted to? Manuel struggles to fit in this lifestyle, he canât recognise himself, or his brother, and he is emotionally wrecked. He misses his family back home, and he realises that what he thought he would achieve once he finds his brother is not happening. When you feel all roads are closing on you, it is time to make a decision. And making his final decision, Manuel proves to have grown so much, and I admired him this entire book.
A beautiful story about all the emotions and journeys that young people go to. We all have dreams, and some of us reach for them, and act on them. Sometimes, these dreams turn out to be our life-changers, and sometimes, these dreams seem great, but are not ours to take. And this book showed me that thatâs fine too. Itâs okay to realise you suddenly donât belong. Itâs okay to act on your dreams, and itâs also okay to make mistakes. As long as you stay true to yourself, everything will be alright.
Emma @ The Movies (1786 KP) rated Wolfwalkers (2020) in Movies
Oct 11, 2020
Coming into this I wasn't sure what to expect, an animated Apple TV film... hmm.
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html
Robyn comes to Ireland with her father, e's been given the job of ridding the area of a pack of wolves that are venturing closer and closer to the town. Keen to hunt just like her father, Robyn sneaks out of the safety of their walled town and into the forest after him. Once there she comes face to face with a wolf, but the encounter isn't what she expected. When she eventually meets Mebh, a wild spirit who lives out in the woods, she discovers what the legend of the wolkwalkers truly means and must find a way to save the pack, and her new friend, from the wrath of the Lord Protector and her father.
The phrase "don't judge a book by its cover" hasn't felt quite so accurate as it does now. When the film starts it has the delicacy of an illustrated picture book (with a hint of Gravity Falls), the colour palette is muted and the strokes look haphazard while being in exactly the right place... and I haven't liked this style of illustration... ever... in the 19 years I was in the book industry. It feels old fashioned (yes, I know that fits with its story) and I immediately felt myself grumble at the fact I was about to sit through a whole film of it.
Wolfwalkers' story is a nice mix of folk story and themes of family and friendship. We follow Robyn as she tries desperately to break free of societies rules and those of her overprotective father, and the overall effect is a surprisingly motivational film about protecting people and doing the right thing.
The only names I recognised off the cast list were Sean Bean and Simon McBurney, and both had the right tone for this film... though Bean ever so slightly like he wasn't always acting to the best of his abilities... but that's not really noticeable when you get swept up in everything.
Our two young ladies in the cast, Honor Kneafsey as Robyn and Eva Whittaker as Mebh, were a delightful match, and when the pair were together on screen they have an amazing chemistry together.
But I want to talk about my favourite thing, and that is very specifically, Mebh. Casting, animation, script, she gets the best of everything that was thrown at this film. Her style is so amazingly accurate for the tale and her story and you can see it in every scene. Her wild characteristics, her playful nature, had all been carefully added to every moment we see her. Whittaker's enthusiastic and emotional vocals bring it all to life in such a wonderful way. Mebh is a delightful creation and full of comedic moments that really made me smile... and that hair... brilliant.
Wolfwalkers' animation (by Cartoon Saloon) might not have been to my taste in the beginning but, with the story and the amazing characters, I soon started to forget about my initial peeves. The design of everything really helps to explain the surroundings, the light and dark of the forest when we first encounter it and then evolves as we progress. The visuals when the townies start encroaching are sad but have a stunning reality to them and in the run-up to the end of the film the way they portray those events is a massive change to the style and makes for a harrowing watch. They've also come up with an ingenious way of showing the wolves and the magic that they're regarded within the story, it's an impressive visual.
All of these wonderful things were topped off with a beautiful soundtrack. Everything fits perfectly, particularly the song "Running With The Wolves" by Aurora, which gave me chills to hear.
Starting this film with such a negative feeling I really didn't think I'd be able to turn it around, but as I watched on and got pulled deeper into the tale and the characters, well, you can tell by my rating that my mind was quickly changed. Wolfwalkers was a beautiful and emotional ride that I would not hesitate to recommend to anyone.
Originally posted on: https://emmaatthemovies.blogspot.com/2020/10/wolfwalkers-movie-review.html
Lucy Buglass (45 KP) rated Jojo Rabbit (2019) in Movies
Oct 14, 2019
The premise of Jojo Rabbit is a bold one, and something that could have very easily been executed terribly on-screen.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes âJojoâ Betzler, who lives in Nazi Germany. Heâs a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist Iâve seen, because itâs easy to have very mixed feelings about who he is as a person. Heâs a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. Heâs fuelled by a love of Hitler (even going as far as to describe him as his âbest friendâ).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when heâs looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbitâs protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. Heâs funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojoâs imaginary Hitler, heâs hysterically funny and not at all how youâd imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojoâs delusions of how wonderful he is.
Heâs simply someoneâs interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what youâd expect from a naive child, who isnât fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because heâs mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitlerâs ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasnât sure whether my tears were from laughing or because I was genuinely sad at what Iâd just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojoâs meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths theyâd go to keep themselves safe.
Despite Elsaâs life constantly being in jeopardy, sheâs very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, youâll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit Iâm not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archieâs first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, itâs an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
Itâs darkly funny with an important overall message of confronting ideologies, and Iâd urge you to seek it out ASAP.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes âJojoâ Betzler, who lives in Nazi Germany. Heâs a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist Iâve seen, because itâs easy to have very mixed feelings about who he is as a person. Heâs a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. Heâs fuelled by a love of Hitler (even going as far as to describe him as his âbest friendâ).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when heâs looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbitâs protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. Heâs funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojoâs imaginary Hitler, heâs hysterically funny and not at all how youâd imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojoâs delusions of how wonderful he is.
Heâs simply someoneâs interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what youâd expect from a naive child, who isnât fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because heâs mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitlerâs ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasnât sure whether my tears were from laughing or because I was genuinely sad at what Iâd just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojoâs meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths theyâd go to keep themselves safe.
Despite Elsaâs life constantly being in jeopardy, sheâs very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, youâll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit Iâm not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archieâs first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, itâs an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
Itâs darkly funny with an important overall message of confronting ideologies, and Iâd urge you to seek it out ASAP.
Ivana A. | Diary of Difference (1171 KP) rated Living My Best Li(f)e in Books
Oct 2, 2020
Fast and chill reads are always the hit for me. I definitely enjoy drinking my hot chocolate and cuddling my blanket while reading a chill book on my sofa. '' Living My Best Li(f)e '' was a modern-day book, that captures today's problems, and it felt familiar, because I have seen these problems in my surrounding. It focuses mostly on social media, and the differences between what we present online, and who we really are in the real world.
We have one woman - Bell - who is about to turn 40, and her comfort is broken when her man decides to leave her after years of togetherness.
We also have another woman, Millie, in her mid-thirties, and her little son Wolf (who names their child Wolf?). Millie fell in love with a football star Louis and had a child with him. To her disappointment, she realized the man she is in love with is the most unreliable parent in the world. She also happens to be an Instagram star, that only shows the world what she wants them to see.
While the followers see expensive dresses and well-behaved child, the reality shows that Millie takes a picture of the dresses and returns them to the shop, unable to afford them. She is also receiving calls from Wolfie's school that he has not be behaving in his best manners.
When these two women accidentally meet, they turn out to be besties. In fact, they became besties so fast, that I had to laugh out loud at how bizarre and unrealistic that was. Do you ever go to a coffee shop, say hi to a person, and then THE SAME DAY, THE SAME CONVERSATIONS you both start sharing your deepest secrets? Yes - it was that bizarre.
I really wanted to love '' Living My Best Li(f)e '' , as it captured a lot of problems. But it only captured the surface of these problems, then solved them instantly and moved on. And I wasn't satisfied. There were so many little plot problems that the author kept adding to the book randomly to keep the story going, and kept resolving them one by one - no anticipation, no hunger for one more chapter. Disappointing.
First of all, all the characters were not realistic. We have this woman that keeps saying she can be on her own, but she also keeps complaining every second of the day.
Then, we have this other woman, who seems like such a person that everyone is looking up to, but in fact, she is too scared to say no to her ex-love and father of her child, and she keeps up with all his nonsense on a daily bases.
Last, but not least, we have the 5-year-old Wolf boy, who talks like a 20-year-old boy, but behaves like a toddler, and I don't know how to react to that.
And finally, we have ''the rest of the characters'', who were mentioned and had their own roles in the book, but didn't have enough of a back story or air-time in order to be remembered by the audience.
The author also introduced us to a plot twist, that came out unexpectedly - but suddenly the government were about to destroy their community center and it was up to them to collect money and save this place in a record time. How convenient for the story, right? With no building up to it, the problem just raised from the ground... And you can all imagine the happy endings and soppy stories that followed with their success.
So yeah - that got me, and I didn't believe it for a second, and therefore this review. I really wanted to love Living My Best Li(f)e, but nothing worked out. Disappointing characters, plots and lack of thrill. Not a great experience for me. I wouldn't recommend it, but if you choose to read it, I would love to know what you think! <3
We have one woman - Bell - who is about to turn 40, and her comfort is broken when her man decides to leave her after years of togetherness.
We also have another woman, Millie, in her mid-thirties, and her little son Wolf (who names their child Wolf?). Millie fell in love with a football star Louis and had a child with him. To her disappointment, she realized the man she is in love with is the most unreliable parent in the world. She also happens to be an Instagram star, that only shows the world what she wants them to see.
While the followers see expensive dresses and well-behaved child, the reality shows that Millie takes a picture of the dresses and returns them to the shop, unable to afford them. She is also receiving calls from Wolfie's school that he has not be behaving in his best manners.
When these two women accidentally meet, they turn out to be besties. In fact, they became besties so fast, that I had to laugh out loud at how bizarre and unrealistic that was. Do you ever go to a coffee shop, say hi to a person, and then THE SAME DAY, THE SAME CONVERSATIONS you both start sharing your deepest secrets? Yes - it was that bizarre.
I really wanted to love '' Living My Best Li(f)e '' , as it captured a lot of problems. But it only captured the surface of these problems, then solved them instantly and moved on. And I wasn't satisfied. There were so many little plot problems that the author kept adding to the book randomly to keep the story going, and kept resolving them one by one - no anticipation, no hunger for one more chapter. Disappointing.
First of all, all the characters were not realistic. We have this woman that keeps saying she can be on her own, but she also keeps complaining every second of the day.
Then, we have this other woman, who seems like such a person that everyone is looking up to, but in fact, she is too scared to say no to her ex-love and father of her child, and she keeps up with all his nonsense on a daily bases.
Last, but not least, we have the 5-year-old Wolf boy, who talks like a 20-year-old boy, but behaves like a toddler, and I don't know how to react to that.
And finally, we have ''the rest of the characters'', who were mentioned and had their own roles in the book, but didn't have enough of a back story or air-time in order to be remembered by the audience.
The author also introduced us to a plot twist, that came out unexpectedly - but suddenly the government were about to destroy their community center and it was up to them to collect money and save this place in a record time. How convenient for the story, right? With no building up to it, the problem just raised from the ground... And you can all imagine the happy endings and soppy stories that followed with their success.
So yeah - that got me, and I didn't believe it for a second, and therefore this review. I really wanted to love Living My Best Li(f)e, but nothing worked out. Disappointing characters, plots and lack of thrill. Not a great experience for me. I wouldn't recommend it, but if you choose to read it, I would love to know what you think! <3
Bob Mann (459 KP) rated A Simple Favor (2018) in Movies
Sep 28, 2021
A Dangerous Liaison.
Wow, this one starts spectacularly well! Whoâs not to love some âThomas Crownâ style titles over a French language version of âMusic to watch girls byâ? Brilliant!
We are then introduced to the hyper-annoying single mum Stephanie Smothers (Anna Kendrick): someone so perky and goodie-two-shoes as a school helper that every other parent loathes her. What she does seem to have a talent for is filming cheesy âmomâs hints and tipsâ videos in her kitchen that she posts to her video blog.
Enter the polar opposite of Stephanie: the stylish, sophisticated, amoral and highly intimidating she-wolf called Emily (Blake Lively). On the excuse of play-dates between their sons, she seduces Stephanie with her swanky 5* lifestyle that she lives with her husband Sean (Henry Golding), a struggling writer. Given the oddness of the couple, there are more than a few hints â in line with the title of my review â that this is some kind of subtle grooming. But to what end?
How can someone so beautiful be so camera-shy? Anna Kendrick going for a cheeky snap of Blake Lively (and failing). (Source: GEM Entertainment).
When Emily suddenly goes missing without explanation, Sergeant Malloy (Andrew Moodie) has no shortage of suspects to investigate as Stephanie finds that she actually knew very little about the ghost-like Emily.
There is a surfeit of glossy style in Paul Feigâs film. Iâve already enthused about the opening titles. But the stylish french-language music â coordinated by Theodore Shapiro â continues throughout, reaching a peak with Serge Gainsbourgâs sublime âLaisse Tomber Les Fillesâ over the equally entertaining end-titles.
Sharing confessions. A âBFâ moment (and no⊠not âBest Friendsâ!). (Source: GEM Entertainment
But as a comedy thriller therâŠ.
âHANG ON A MINUTE DR BOB! WHAT DID YOU JUST SAY? COMEDY THRILLER? I watched the trailer for this one, and itâs âGone Girlâ remade isnât it? It wasnât comedy! Even IMDB describe it as âCrime, Drama, Mysteryâ!â
Yes, quite, and therein lies the problem with this film. I found the trailers (the full trailer as well as the teaser trailer attached below) to be highly misleading about the âfeelâ of the film. The comedy is distributed throughout with some great comic put-downs (âPrudes are people tooâ coos Emily to Stephanie) and generally laugh-out-loud dialogue. So yes, it IS a âGone Girlâ or âThe Girl on the Trainâ wannabe⊠but itâs with added âlaffsâ. Now this revelation might make the film appeal to you much more than the trailer did. But in my book, âthrillerâ and âcomedyâ are not genres to comfortably share a bed and for me the film became increasingly inconsistent. This inconsistency built to a finale where all semblance of plot and reality seemed to go right out of the window⊠it could have been an improv episode or âWhoâs Line Is It Anyway?â.
The writer is Jessica Sharzer (who did the screenplay for âNerveâ which I very much liked). But I suspect the issue lies more with Paul Feigâs background in comedies (âBridesmaidsâ, âThe Heatâ, âSpyâ) and he couldnât resist spicing up the thriller with some out-of-place comedy. Which was a shame, since I really liked the overall thriller plot, and the dynamic built up between Kendrick and Lively.
Coming cleanâŠing. Anna Kendrick as an undercover mopper. (Source: GEM Entertainment).
Blake Lively (Mrs Deadpool of course) is actually staggeringly good as the unfathomable and slightly deranged Emily, and even Kendrick â who seems to have had a run of very so-so movies recently â is entertainingly quirky in this one.
I also enjoyed the performance of Rupert Friend (probably best known as Peter Quinn in âHomelandâ) playing a vain and ego-centric fashion designer Dennis Nylon. Great fun.
Never trust a redhead. Emily being a-muse-ing. (Source: GEM Entertainment).
Was I entertained? Yes I was, so I am tempted to recommend you seeing this rather than not. But I was also irritated in equal measureâŠ. I really felt from the opening scenes that this one had legs to make my Top 10 for the year. But no.
Please comment and let me know which side of the fence you sit on!
We are then introduced to the hyper-annoying single mum Stephanie Smothers (Anna Kendrick): someone so perky and goodie-two-shoes as a school helper that every other parent loathes her. What she does seem to have a talent for is filming cheesy âmomâs hints and tipsâ videos in her kitchen that she posts to her video blog.
Enter the polar opposite of Stephanie: the stylish, sophisticated, amoral and highly intimidating she-wolf called Emily (Blake Lively). On the excuse of play-dates between their sons, she seduces Stephanie with her swanky 5* lifestyle that she lives with her husband Sean (Henry Golding), a struggling writer. Given the oddness of the couple, there are more than a few hints â in line with the title of my review â that this is some kind of subtle grooming. But to what end?
How can someone so beautiful be so camera-shy? Anna Kendrick going for a cheeky snap of Blake Lively (and failing). (Source: GEM Entertainment).
When Emily suddenly goes missing without explanation, Sergeant Malloy (Andrew Moodie) has no shortage of suspects to investigate as Stephanie finds that she actually knew very little about the ghost-like Emily.
There is a surfeit of glossy style in Paul Feigâs film. Iâve already enthused about the opening titles. But the stylish french-language music â coordinated by Theodore Shapiro â continues throughout, reaching a peak with Serge Gainsbourgâs sublime âLaisse Tomber Les Fillesâ over the equally entertaining end-titles.
Sharing confessions. A âBFâ moment (and no⊠not âBest Friendsâ!). (Source: GEM Entertainment
But as a comedy thriller therâŠ.
âHANG ON A MINUTE DR BOB! WHAT DID YOU JUST SAY? COMEDY THRILLER? I watched the trailer for this one, and itâs âGone Girlâ remade isnât it? It wasnât comedy! Even IMDB describe it as âCrime, Drama, Mysteryâ!â
Yes, quite, and therein lies the problem with this film. I found the trailers (the full trailer as well as the teaser trailer attached below) to be highly misleading about the âfeelâ of the film. The comedy is distributed throughout with some great comic put-downs (âPrudes are people tooâ coos Emily to Stephanie) and generally laugh-out-loud dialogue. So yes, it IS a âGone Girlâ or âThe Girl on the Trainâ wannabe⊠but itâs with added âlaffsâ. Now this revelation might make the film appeal to you much more than the trailer did. But in my book, âthrillerâ and âcomedyâ are not genres to comfortably share a bed and for me the film became increasingly inconsistent. This inconsistency built to a finale where all semblance of plot and reality seemed to go right out of the window⊠it could have been an improv episode or âWhoâs Line Is It Anyway?â.
The writer is Jessica Sharzer (who did the screenplay for âNerveâ which I very much liked). But I suspect the issue lies more with Paul Feigâs background in comedies (âBridesmaidsâ, âThe Heatâ, âSpyâ) and he couldnât resist spicing up the thriller with some out-of-place comedy. Which was a shame, since I really liked the overall thriller plot, and the dynamic built up between Kendrick and Lively.
Coming cleanâŠing. Anna Kendrick as an undercover mopper. (Source: GEM Entertainment).
Blake Lively (Mrs Deadpool of course) is actually staggeringly good as the unfathomable and slightly deranged Emily, and even Kendrick â who seems to have had a run of very so-so movies recently â is entertainingly quirky in this one.
I also enjoyed the performance of Rupert Friend (probably best known as Peter Quinn in âHomelandâ) playing a vain and ego-centric fashion designer Dennis Nylon. Great fun.
Never trust a redhead. Emily being a-muse-ing. (Source: GEM Entertainment).
Was I entertained? Yes I was, so I am tempted to recommend you seeing this rather than not. But I was also irritated in equal measureâŠ. I really felt from the opening scenes that this one had legs to make my Top 10 for the year. But no.
Please comment and let me know which side of the fence you sit on!
Bob Mann (459 KP) rated Viceroy's House (2017) in Movies
Sep 29, 2021
The 80:20 Rule.
India, 1947. Churchillâs government has sent Lord Grantham â â sorry â Lord Louis Mountbatten of Burma (Hugh Bonneville, âThe Monuments Menâ) as the new Viceroy. His mission is to make sure he is the last ever Viceroy, for India is to be returned to independence. But racial tensions between the Hindu and minority Muslim populations are brittle and deteriorating fast. Can India survive as a single country, or will Mountbatten be forced to partition the country along religious lines to avoid civil-war and countless deaths?
Of course, there is little tension in this plot line since we know Pakistan was indeed founded by Muhammad Ali Jinnah (played by Denzil Smith) on August 14th 1947. (In reality, Jinnahâs victory was short lived as he died of TB the following year). The rest of India went on to be ruled by Jawaharlal Nehru (played by Tanveer Ghani). What the film does remind this generation of is the extreme cost of that partition, with riots, mass abductions and rapes, over a million estimated deaths and one of the biggest migrations of populations ever seen. (All of this is largely shown through original newsreel footage, which is effectively inter-weaved with the film).
So as an educational documentary it is useful. However, as an entertaining movie night out? Not so much. After coming out of the film we needed to buy some milk at Tesco and I was put on the spot by the checkout lady to sum-up the film: âWorthy but dullâ was what I came up with, which with further time to reflect still seems a good summary.
This shouldnât have been the case, since the film is directed by the well-respected Gurinder Chadha (âBend it like Beckham) and boasts a stellar cast, with Bonneville supported by Gillian Anderson (âThe X Filesâ) as Lady Mountbatten; Michael Gambon (âHarry Potterâ) as General Ismay (Mountbattenâs chief of staff); Simon Callow (âFour Weddings and a Funeralâ) as Radcliffe (the drawer of âthe new mapâ); and Om Puri (âThe Hundred Foot Journeyâ) as former political prisoner Ali Rahim Noor. Playing Mountbattenâs daughter is Lily Travers (âKingsman: The Secret Serviceâ): Virginia McKennaâs granddaughter.
But unfortunately, for me at least, the film lumbers from scene to scene, seldom engaging with me. Bonnevilleâs Mountbatten, whilst perfectly sound, was just a re-tread of Downton with added humidity and curry; Andersonâs (probably extremely accurate) crystal-glass English accent quickly becomes tiresome; and elsewhere a lot of the acting of the broader Indian cast is, Iâm sorry to comment, rather sub-par. For me, only Om Puri, who sadly died in January, delivers an effective and moving performance as the blind father (literally) unable to see that the arranged marriage for his daughter Aalia (Huma Qureshi) is heading for trouble thanks to Mountbattenâs man-servant. And no, that isnât a euphemismâŠ. Iâm talking about his real manservant, Jeet Kumar (Manish Dayal)!!
As an aside, the late Puri (probably most famous in western cinema for âEast is Eastâ) has made over 270 feature films in his prolific career, over and above his many appearances on Indian TV. And he still has another 6 films to be released! May he rest in peace.
Probably realising that the historical plot is not enough to sustain the film, the screenwriters Paul Mayeda Berges (âBend it like Beckhamâ), Moira Buffini (âTamara Dreweâ) and Gurinder Chadha try to add more substance with the illicit romance between the Hindu Jeet and the Muslim Aalia. Unfortunately this is clunky at best, with an incessant 30 minutes-worth of longing looks before anything of substance happens. Even the âLionâ-style denouement (also with a railway train connection) is unconvincing.
After that, the film just tends to peter out, with a âreal-life photographâ segue delivering a rather tenuous connection between a character not even featured in the film and the director!
Mrs. Chadha has clearly corralled an army of extras to deliver some of the scenes in the film, in the hope of delivering a historical epic of the scale of Attenboroughâs âGandhiâ. For me, she misses by a considerable margin. But thatâs just my viewâŠ.. if you like historical dramas, its a film you might enjoy: as the great man himself said âHonest disagreement is often a good sign of progressâ.
Of course, there is little tension in this plot line since we know Pakistan was indeed founded by Muhammad Ali Jinnah (played by Denzil Smith) on August 14th 1947. (In reality, Jinnahâs victory was short lived as he died of TB the following year). The rest of India went on to be ruled by Jawaharlal Nehru (played by Tanveer Ghani). What the film does remind this generation of is the extreme cost of that partition, with riots, mass abductions and rapes, over a million estimated deaths and one of the biggest migrations of populations ever seen. (All of this is largely shown through original newsreel footage, which is effectively inter-weaved with the film).
So as an educational documentary it is useful. However, as an entertaining movie night out? Not so much. After coming out of the film we needed to buy some milk at Tesco and I was put on the spot by the checkout lady to sum-up the film: âWorthy but dullâ was what I came up with, which with further time to reflect still seems a good summary.
This shouldnât have been the case, since the film is directed by the well-respected Gurinder Chadha (âBend it like Beckham) and boasts a stellar cast, with Bonneville supported by Gillian Anderson (âThe X Filesâ) as Lady Mountbatten; Michael Gambon (âHarry Potterâ) as General Ismay (Mountbattenâs chief of staff); Simon Callow (âFour Weddings and a Funeralâ) as Radcliffe (the drawer of âthe new mapâ); and Om Puri (âThe Hundred Foot Journeyâ) as former political prisoner Ali Rahim Noor. Playing Mountbattenâs daughter is Lily Travers (âKingsman: The Secret Serviceâ): Virginia McKennaâs granddaughter.
But unfortunately, for me at least, the film lumbers from scene to scene, seldom engaging with me. Bonnevilleâs Mountbatten, whilst perfectly sound, was just a re-tread of Downton with added humidity and curry; Andersonâs (probably extremely accurate) crystal-glass English accent quickly becomes tiresome; and elsewhere a lot of the acting of the broader Indian cast is, Iâm sorry to comment, rather sub-par. For me, only Om Puri, who sadly died in January, delivers an effective and moving performance as the blind father (literally) unable to see that the arranged marriage for his daughter Aalia (Huma Qureshi) is heading for trouble thanks to Mountbattenâs man-servant. And no, that isnât a euphemismâŠ. Iâm talking about his real manservant, Jeet Kumar (Manish Dayal)!!
As an aside, the late Puri (probably most famous in western cinema for âEast is Eastâ) has made over 270 feature films in his prolific career, over and above his many appearances on Indian TV. And he still has another 6 films to be released! May he rest in peace.
Probably realising that the historical plot is not enough to sustain the film, the screenwriters Paul Mayeda Berges (âBend it like Beckhamâ), Moira Buffini (âTamara Dreweâ) and Gurinder Chadha try to add more substance with the illicit romance between the Hindu Jeet and the Muslim Aalia. Unfortunately this is clunky at best, with an incessant 30 minutes-worth of longing looks before anything of substance happens. Even the âLionâ-style denouement (also with a railway train connection) is unconvincing.
After that, the film just tends to peter out, with a âreal-life photographâ segue delivering a rather tenuous connection between a character not even featured in the film and the director!
Mrs. Chadha has clearly corralled an army of extras to deliver some of the scenes in the film, in the hope of delivering a historical epic of the scale of Attenboroughâs âGandhiâ. For me, she misses by a considerable margin. But thatâs just my viewâŠ.. if you like historical dramas, its a film you might enjoy: as the great man himself said âHonest disagreement is often a good sign of progressâ.
Bob Mann (459 KP) rated Jackie (2016) in Movies
Sep 29, 2021
Spoiler! Her husband gets shot.
âJackieâ tells the story of the spiralling grief, loss and anger of Jackie Kennedy driven by the assassination of JFK in Dallas in November 1963. Hopping backwards and forwards in flashback, the film centres on the first interview given by Jackie (Natalie Portman, âBlack Swanâ) to a âTimeâ journalist (Billy Crudup, âWatchmenâ, âSpotlightâ).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a âbaby girlâ voice. This contrasts with her demeanour in the interview which â although subject to emotional outburst and grief â is assured, confident and above all extremely assertive. We live the film through Jackieâs eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the Presidentâs funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for âLa La Landâ â as another Golden Globe winner, for the Comedy/Musical category â and a large part of my heart would still really like to see Stone win itâŠ. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (âThe Magnificent Sevenâ) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackieâs priest is John Hurt (âAlienâ, âDr Whoâ) and, as Jackieâs close friend, the artist Bill Walton, is Richard E Grant (âWithnail and Iâ, who as he grows older is looking more and more like Geoffrey Rush â I was sure it was him!).
Director Pablo LarraĂn (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackieâs mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency â âWill he be remembered for resolving the Cuban missile crisis: something he originally created?â rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by StĂ©phane Fontaine, âRust and Boneâ) cleverly contrasts between the vibrant hues of Jackieâs âCamelotâ to the washed-out blueish tones of the post-assassination events. If you donât feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim â in a SIGNIFICANT departure from his previous teen-flick screenplays for âAllegiantâ and âThe Maze Runnerâ â is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: âAnd the Oscar goes to⊠Natalie Portmanâ.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackieâs point-of-viewâŠ. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in âFamily Guyâ (as shown here).
Through this interview we flashback to see Jackie as the young First Lady engaged in recording a TV special for a tour of the White House: nervous, unsure of herself and with a âbaby girlâ voice. This contrasts with her demeanour in the interview which â although subject to emotional outburst and grief â is assured, confident and above all extremely assertive. We live the film through Jackieâs eyes as she experiences the arrival in Dallas, the traumatic events of November 22nd in Dealey Plaza, the return home to Washington and the complicated arrangement of the Presidentâs funeral.
This is an acting tour de force for Natalie Portman, who is astonishingly emotional as the grief-stricken ex-first lady. She nails this role utterly and completely. Having already won the Golden Globe for an actress in a dramatic role, you would be a foolish man to bet against her not taking the Oscar. (I know I said just the other week that I though Emma Stone should get it for âLa La Landâ â as another Golden Globe winner, for the Comedy/Musical category â and a large part of my heart would still really like to see Stone win itâŠ. But excellent as that performance was, this is a far more challenging role.)
In a key supporting role is Peter Sarsgaard (âThe Magnificent Sevenâ) as Bobby Kennedy (although his lookalike is not one of the best: that accolade I would give to Gaspard Koenig, in an un-speaking role, as the young Ted Kennedy).
Also providing interesting support as Jackieâs priest is John Hurt (âAlienâ, âDr Whoâ) and, as Jackieâs close friend, the artist Bill Walton, is Richard E Grant (âWithnail and Iâ, who as he grows older is looking more and more like Geoffrey Rush â I was sure it was him!).
Director Pablo LarraĂn (whose previous work I am not familiar with) automatically assumes that EVERYONE has the background history to understand the narrative without further explanation: perhaps as this happened 54 years ago, this is a bit of a presumption for younger viewers? Naturally for people of my advanced years, these events are as burned into our collective psyches as the images in the Zapruder film.
While the film focuses predominantly, and brilliantly, on Jackieâs mental state, the film does gently question (via an outburst from Bobby) as to what JFK actually achieved in his all too short presidency â âWill he be remembered for resolving the Cuban missile crisis: something he originally created?â rants Bobby. In reality, JFK is remembered in history for this assassination and the lost potential for what he might have done. I would have liked the script to have delved a little bit further into that collective soul-searching.
This is a very sombre movie in tone, from the bleak opening, with a soundtrack of sonorous strings, to the bleak weather-swept scenes at Arlington cemetery. The cinematography (by StĂ©phane Fontaine, âRust and Boneâ) cleverly contrasts between the vibrant hues of Jackieâs âCamelotâ to the washed-out blueish tones of the post-assassination events. If you donât feel depressed going into this film, you probably will be coming out! But the journey is a satisfying one nonetheless, and the script by Noah Oppenheim â in a SIGNIFICANT departure from his previous teen-flick screenplays for âAllegiantâ and âThe Maze Runnerâ â is both tight and thought-provoking.
Overall, a recommended watch which comes with a prediction: âAnd the Oscar goes to⊠Natalie Portmanâ.
Finally, note that for those of a squeamish disposition, there is a very graphic depiction of the assassination from Jackieâs point-of-viewâŠ. but this is not until nearly the end of the film, so you are reasonably safe until then!
Also as a final general whinge, could directors PLEASE place an embargo on the logos of more than two production companies coming up at the start of a film? This has about six of them and is farcical, aping the (very amusing) parody in âFamily Guyâ (as shown here).
Emma @ The Movies (1786 KP) rated Last Night in Soho (2021) in Movies
Oct 15, 2021
I was on the fence about this one. On the one hand, Edgar Wright, on the other, a cast that didnât inspire confidence. But, if nothing else, it was going to be a spectacle.
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isnât quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandieâs life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew Iâd be able to enjoy myself with the soundtrack. Itâs a very nostalgic bit of listening for me having been brought up in a household thatâs listening was a little more retro.
As the story develops, and Eloise along with it, youâre eager for answers. But that process feels drawn out and at some point itâs easy to see where itâs going to go before itâs properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end itâs a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt⊠cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go âmehâ. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and⊠thatâs it⊠really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloiseâs âboyfriendâ was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of âsupportâ for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandieâs influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you canât fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldnât miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes Iâm sure youâll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, Iâm even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html
Eloise dreams of being a fashion designer, and when she gets accepted to study fashion in London she thinks her dreams have come true. But London life isnât quite what she hoped. When life in halls becomes too much, she finds herself an attic room to rent. Noisy roommates might have been the easier option when suddenly, every night, Eloise is transported to the 60s where the life of Sandie unfolds in front of her. Swept away in the glamour, the tables turn when Sandieâs life beings to twist into a new stark reality.
The start of Last Night in Soho pulled me in, the music had me, if nothing else I knew Iâd be able to enjoy myself with the soundtrack. Itâs a very nostalgic bit of listening for me having been brought up in a household thatâs listening was a little more retro.
As the story develops, and Eloise along with it, youâre eager for answers. But that process feels drawn out and at some point itâs easy to see where itâs going to go before itâs properly alluded to, which took away some of the impact for me.
Our main character Eloise (played by Thomasin McKenzie), definitely has the right look and demeanour for this part. While in the end itâs a good performance though, I feel like the role would have been better suited to someone a little less on the nose. They've conveyed the mental health portion of the role nicely (the depiction of her mother felt a little Harry Potter but did get the point across), and she managed to encapsulate some of the terror, but again, it felt⊠cheesy? Maybe not the right word, but it was close to not giving it enough impact in the story, and I could see this working more on the horror side of things with some changes.
Ahh, Anya. Another from my list of people on the credits that make me go âmehâ. I was sold with this performance though. I'm not fully on the Joy train, but I very much enjoyed this performance. Her attitude and behaviour the whole way through sold the character and⊠thatâs it⊠really great. (So many things I want to say and so many that constitute spoilers.)
The supporting cast has some big names. Diana Rigg in her last performance gave a much needed edge to the scenes she was in. Matt Smith was cockney Matt Smith. My only particular call out would be for the character rather than the actor. The role of Eloiseâs âboyfriendâ was verging on problematic, both from a boyfriend and a writing point of view. A wet blanket of a character that seemed to be too close to comic relief without committing one way or the other. Even allowing for some sort of âsupportâ for Eloise, this role could have been divvied out to a selection of other characters.
Last Night in Soho is stylish. The homely naive Eloise meeting glam forward Sandie really came together, and seeing Sandieâs influence seeping into the present day in the fashion and demeanour was interesting. The colours, the sets, the costumes, you canât fault any of it.
Not being an expert in cinematic mastery behind the scenes, some of these things can escape me, but even I couldnât miss the stunning editing and effects. Everything is seamless, and when you see some of those scenes Iâm sure youâll be blown away too.
On the technical side, this film is probably very close to a 5 star film, but with the character issues I had and the feeling that there was something missing from the ending, Iâm even now not sure what my score for Last Night in Soho is going to be...
Originally posted on: https://emmaatthemovies.blogspot.com/2021/10/last-night-in-soho-movie-review.html