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Movie Metropolis (309 KP) rated Cinderella (2015) in Movies
Jun 11, 2019
Sickly Sweet
Taking a look through Disney’s back catalogue of animation is like a lesson in film history. From Snow White to Bambi and The Lion King to The Princess & the Frog, there’s something in there for everyone to enjoy.
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/
However, the studio has in recent times, taken to reimagining its classics as live-action adaptations with last year’s Maleficent starting a generation that will include Beauty & the Beast and a Tim Burton directed Dumbo. The latest offering is Cinderella, but does it hold a candle to its animated counterpart?
The plot of Cinderella needs no introduction, the classic tale of rags to riches and love conquering all doesn’t need an update and director Kenneth Branagh (Thor, Jack Ryan: Shadow Recruit) is just the man for the job.
Following the story of young Ella as she comes to terms with the loss of her parents and the arrival of her overbearing step-cinderella_poster_a_psisters and step-mother, Cinderella is a wonderfully acted and beautifully realised film that borders on a little syrupy at times.
Downton Abbey’s Lily James takes on the title role with a brilliant Cate Blanchett giving her all as Ella’s wicked step-mother. Helena Bonham Carter also stars as Ella’s fairy godmother and brings her usual brand of crazy to the character.
What sets this adaptation apart from Angelina Jolie’s Maleficent is its stunning visuals. Where Maleficent was beautiful in its own way and suited the film’s dark tone, here Kenneth Branagh throws every colour on the spectrum at the screen in breath-taking fashion.
The outfits are to die for and the locations are an explosion of bright colours and textures that are juxtaposed exceptionally with the dark, damp quarters our princess is confined to.
Elsewhere, the performances are, on the whole, sublime. James is good in the titular role but the plodding script lets her down. She comes across, as awful as this sounds, a little idiotic and lacks the charming spirit of her animated counterpart. The same can be said for her prince, played by Richard Madden – though this could be down to the story rushing their love somewhat.
By far the standout is Cate Blanchett, who is truly mesmerising as stepmother Lady Tremaine. Her brash and ridiculously over-the-top performance suits the pantomime feel of the production down to the ground. Unfortunately, her evil is heavily restrained by the film’s U certification, even more so when compared alongside the 1950 film.
Nevertheless, the visuals are simply stunning. Everything from the palace to Ella’s iconic ball gown and all of it in between is nearly flawless with only a few lapses in cartoonish CGI letting things down – though this can be forgiven with the film’s pantomime-esque nature.
Overall, this live-action reimagining of the 1950s classic musical does not in any way attempt to better its predecessor. Instead it wishes to sit alongside it as the studio tries to pave the way for a whole new generation of children to fall in love with Disney’s princesses once again.
Only a few lapses in CGI, a plodding script and a sickly sweet tone stop it from being enjoyable for everyone in the family, instead of just the kids.
https://moviemetropolis.net/2015/03/31/sickly-sweet-cinderella-review/
Lee (2222 KP) rated Rocketman (2019) in Movies
May 22, 2019
Rocketman isn't the standard music biopic movie you're used to - the formulaic rise to fame and fortune, accompanied by drug and alcohol misuse and a troubled, lonely life. The story of Elton John, the musician whose life this movie is about, certainly does have all of those elements, but Rocketman presents them in such a wonderfully crazy and original way. Weaving classic songs into the storytelling and providing a wonderfully welcome and heart warming fantasy element to the movie.
The story begins with a middle-aged Elton (Taron Egerton), dressed in one of his trademark outrageous outfits (this time a winged devil costume, complete with horns!), as he marches into a group therapy session and informs everyone that he is addicted to cocaine, sex and prescription drugs. “For as long as I can remember I’ve hated myself” he continues, before starting to recall his childhood years. He sees his younger self across the room, looking at him as the first song begins. It's more like something out of a musical though, with both versions of Elton involved in the singing and dancing, not to mention the members of the therapy group too!
That therapy room is where much of the story is told, rejoining Elton at various stages of his recovery as he recounts the moments of his life that shaped him and brought him to the point he's at now. We initially join the younger version of Elton that we saw in the opening number, or Reggie Dwight as he was known back then, tinkling out his first few notes on the family piano and never feeling fully accepted by his family. His dad is uncaring and cold towards him, never once giving him the simple hug he craves, while his mum (brilliantly played by Bryce Dallas Howard) eventually proves herself to be not that much better than dad either as time goes on. Only Reggie's Nan seems to offer him any kind of support and encouragement, and it's not long before Reggie is receiving piano lessons, attending music school and playing small gigs in the local pubs.
Fast forward a few years to Elton as a young man (played by Egerton from now on), as he starts to get noticed by the right people in those pub gigs. He's paired with Bernie Taupin (Jamie Bell) where they form the partnership which will last a lifetime - Bernie providing the lyrics, Elton providing the music and the performance. They form a strong friendship, and it's fun to see them growing together as artists, revealing how such classic songs came from such simple beginnings. It's not long before Elton is on the fast track to becoming a global superstar, performing at the Troubadour club in LA where he immediately wows the audience. It's there that he catches the eye of John Reid (Richard Madden), who he starts a disastrous romantic relationship with, as well as taking him on as manager.
From there the movie becomes a rollercoaster ride of emotions, carried along by an outstanding, and I'd say Oscar worthy, performance from Egerton. Singing all of the songs, and portraying perfectly the highs and lows of Elton John's incredible career. As mentioned previously, he's also supported by what is an amazing cast, all sharing the singing duties. Familiar songs that give extra meaning and insight as they seamlessly integrate within the story. And they're also completely bonkers at times too! A song performed underwater, a song where everyone in the bar levitates off the ground, Elton firing up into the sky like a rocket and exploding like a firework! Despite all of this, the movie still manages to feel relatable and believable and is a real joy to watch.
The story begins with a middle-aged Elton (Taron Egerton), dressed in one of his trademark outrageous outfits (this time a winged devil costume, complete with horns!), as he marches into a group therapy session and informs everyone that he is addicted to cocaine, sex and prescription drugs. “For as long as I can remember I’ve hated myself” he continues, before starting to recall his childhood years. He sees his younger self across the room, looking at him as the first song begins. It's more like something out of a musical though, with both versions of Elton involved in the singing and dancing, not to mention the members of the therapy group too!
That therapy room is where much of the story is told, rejoining Elton at various stages of his recovery as he recounts the moments of his life that shaped him and brought him to the point he's at now. We initially join the younger version of Elton that we saw in the opening number, or Reggie Dwight as he was known back then, tinkling out his first few notes on the family piano and never feeling fully accepted by his family. His dad is uncaring and cold towards him, never once giving him the simple hug he craves, while his mum (brilliantly played by Bryce Dallas Howard) eventually proves herself to be not that much better than dad either as time goes on. Only Reggie's Nan seems to offer him any kind of support and encouragement, and it's not long before Reggie is receiving piano lessons, attending music school and playing small gigs in the local pubs.
Fast forward a few years to Elton as a young man (played by Egerton from now on), as he starts to get noticed by the right people in those pub gigs. He's paired with Bernie Taupin (Jamie Bell) where they form the partnership which will last a lifetime - Bernie providing the lyrics, Elton providing the music and the performance. They form a strong friendship, and it's fun to see them growing together as artists, revealing how such classic songs came from such simple beginnings. It's not long before Elton is on the fast track to becoming a global superstar, performing at the Troubadour club in LA where he immediately wows the audience. It's there that he catches the eye of John Reid (Richard Madden), who he starts a disastrous romantic relationship with, as well as taking him on as manager.
From there the movie becomes a rollercoaster ride of emotions, carried along by an outstanding, and I'd say Oscar worthy, performance from Egerton. Singing all of the songs, and portraying perfectly the highs and lows of Elton John's incredible career. As mentioned previously, he's also supported by what is an amazing cast, all sharing the singing duties. Familiar songs that give extra meaning and insight as they seamlessly integrate within the story. And they're also completely bonkers at times too! A song performed underwater, a song where everyone in the bar levitates off the ground, Elton firing up into the sky like a rocket and exploding like a firework! Despite all of this, the movie still manages to feel relatable and believable and is a real joy to watch.
BankofMarquis (1832 KP) rated Rocketman (2019) in Movies
Jun 11, 2019
Strong Lead Performance
I have to admit, I thought the Freddy Mercury bio-pic BOHEMIAN RHAPSODY was just "meh" and that Rami Malek was "just o'k" as the Queen frontman (personally, I would have given the Oscar to Christian Bale for his portrayal of Dick Cheney in VICE) so I was not rushing to the multi-plex to check out the Elton John musical film ROCKETMAN. And the fact that the release of this film was "buried" in the summer and not right before "Oscar Season" gave me room to pause.
And...I would be wrong...for ROCKETMAN is a fun, fantastical fantasy musical depicting the rise and fall (by drug and alcohol abuse) of one of rock's most flamboyant showman of the 1970's.
Following the "Jukebox Musical" blueprint of something like JERSEY BOYS, Rocketman follows a young Reggie Dwight as he discovers his musical talent and grows into the Global Superstar known as Elton John.
I was happy that the filmmakers went this route (vs the bio-pic route that BOHEMIAN RHAPSODY went) for they were able to use the vast catalog of Elton John/Bernie Taupin tunes to their fullest advantage, when it made sense to drive the narrative forward - or to give the storytelling a shot of adrenaline.
This film had Elton John's blessings and he was not kind to a few people in his life - most notably his mother (an almost unrecognizable Bryce Dallas Howard in a strong turn), his father (Steve Mackintosh, who I had never seen before) and his Manager, John Reid (Game of Throne's Richard Madden). All 3 are pretty one-dimensional villains that help contribute to Elton's drug and alcohol abuse.
On the other side of the coin is his writing partner, Bernie Taupin (Jamie Bell, the original BILLY ELLIOT in a performance that I think is the best of his career) and his Grandmother, Ivy (good ol' Gemma Jones BRIDGET JONES DIARY and Madam Pomfrey in the Harry Potter films). Both of these characters are generally positive influences on Elton's life, trying to understand and support our hero on his journey.
As for our hero, Taran Egerton (the KINGSMAN films) embodies Elton with panache and zeal while showing an underlying shyness and insecurity that helps lead to his abuse issues. Egerton is EXCELLENT in this role - both in acting and singing. He doesn't so much imitate Elton John but embodies the essence of Sir Elton and his performance is quite effective. If Rami Malek deserved his Oscar for playing Freddy Mercury in BOHEMIAN RHAPSODY then Taran Egerton better be in the Oscar conversation this year.
The film was Directed by Dexter Fletcher (who was brought on to finish BOHEMIAN RHAPSODY once Bryan Singer was fired from that film for his on-set behavior), so he puts to good use his experience on the Queen movie, keeping the action moving fast, the characterizations simple (but satisfying) enough while showcasing just enough music to fill a "Best of" Album.
While BOHEMIAN RHAPSODY was a "meh" movie with a buffo ending (the recreation of the LIVE AID concert was amazing), ROCKETMAN suffers from just the opposite problem. Starting off strong and growing weaker until it ends in "meh" fashion. The fact that this film musical fantasy decided to end with a faithful recreation of the I'M STILL STANDING music video is at the heart of the issue. I understand the implied underlying meaning of this song selection, but it just doesn't pack the punch that a live concert appearance would have.
Come for the music, stay for Egerton's performance and you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And...I would be wrong...for ROCKETMAN is a fun, fantastical fantasy musical depicting the rise and fall (by drug and alcohol abuse) of one of rock's most flamboyant showman of the 1970's.
Following the "Jukebox Musical" blueprint of something like JERSEY BOYS, Rocketman follows a young Reggie Dwight as he discovers his musical talent and grows into the Global Superstar known as Elton John.
I was happy that the filmmakers went this route (vs the bio-pic route that BOHEMIAN RHAPSODY went) for they were able to use the vast catalog of Elton John/Bernie Taupin tunes to their fullest advantage, when it made sense to drive the narrative forward - or to give the storytelling a shot of adrenaline.
This film had Elton John's blessings and he was not kind to a few people in his life - most notably his mother (an almost unrecognizable Bryce Dallas Howard in a strong turn), his father (Steve Mackintosh, who I had never seen before) and his Manager, John Reid (Game of Throne's Richard Madden). All 3 are pretty one-dimensional villains that help contribute to Elton's drug and alcohol abuse.
On the other side of the coin is his writing partner, Bernie Taupin (Jamie Bell, the original BILLY ELLIOT in a performance that I think is the best of his career) and his Grandmother, Ivy (good ol' Gemma Jones BRIDGET JONES DIARY and Madam Pomfrey in the Harry Potter films). Both of these characters are generally positive influences on Elton's life, trying to understand and support our hero on his journey.
As for our hero, Taran Egerton (the KINGSMAN films) embodies Elton with panache and zeal while showing an underlying shyness and insecurity that helps lead to his abuse issues. Egerton is EXCELLENT in this role - both in acting and singing. He doesn't so much imitate Elton John but embodies the essence of Sir Elton and his performance is quite effective. If Rami Malek deserved his Oscar for playing Freddy Mercury in BOHEMIAN RHAPSODY then Taran Egerton better be in the Oscar conversation this year.
The film was Directed by Dexter Fletcher (who was brought on to finish BOHEMIAN RHAPSODY once Bryan Singer was fired from that film for his on-set behavior), so he puts to good use his experience on the Queen movie, keeping the action moving fast, the characterizations simple (but satisfying) enough while showcasing just enough music to fill a "Best of" Album.
While BOHEMIAN RHAPSODY was a "meh" movie with a buffo ending (the recreation of the LIVE AID concert was amazing), ROCKETMAN suffers from just the opposite problem. Starting off strong and growing weaker until it ends in "meh" fashion. The fact that this film musical fantasy decided to end with a faithful recreation of the I'M STILL STANDING music video is at the heart of the issue. I understand the implied underlying meaning of this song selection, but it just doesn't pack the punch that a live concert appearance would have.
Come for the music, stay for Egerton's performance and you'll be glad you did.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated Eternals (2021) in Movies
Nov 10, 2021
Works Well Enough
The interesting thing about creating a Cinematic “Universe” (like Marvel has done and others are desperately trying to do) is that because it is a “Universe” you can tell different types of stories with different types of characters in differing styles.
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
In ETERNALS, Marvel has really attempted to open up their “Universe” by introducing their audience to the Eternals, celestial beings that are tangentially interested in the goings-on of the human world.
It’s not a Super-Hero movie, per se, it’s a world of “Gods and Monsters” (to steal a phrase) that has repercussions across the Universe.
So with this background in mind, the ETERNALS succeeds, mostly, because it is trying to be something…else. NOT a SUPERHERO film, but something on a different plane.
Unfortunately, this probably will put off “Fan-boys” who want “more of the same” (more Avengers, more Thanos, more F/X smashy-smashy, fight-fight) and ETERNALS just isn’t intended to be that.
Your first clue that this film is trying to be something else is the choice of Director - recent Oscar Winner Chloe Zhao (NOMADLAND), known for her personal stories and interesting visuals. She brings that sensibility to this film and it (mostly), though it is the type of Cinematic style that works best in low-res (like an independent film like Nomadland) rather than large IMAX Comic-book film event films.
The movie itself is entertaining…enough. It is, necessarily, slow at the beginning as Zhao needs to set up these characters and the realm that they are playing on (and orient the audience as to how this fits with the AVENGERS:ENDGAME of it all). There are 10 (yes, TEN) Eternals to introduce along with ancillary characters, so the film has to take some time to gather steam.
And…it gathers steam, not in the action sequences (which are serviceable) but in the characters and the character interactions and this is where the film really works for me.
Gemma Chan (CRAZY, RICH ASIANS) and Richard Madden (Rob Stark on GAME OF THRONES) are, basically, the lead characters as their relationship takes center stage for most of the film - and these 2 (especially Chan) holds the screen well, which is tough to do since there are so many characters - and so much other things going on.
The real hero of the Marvel Cinematic Universe, IMHO, is the Casting Director who, time-after-time, plucks relative unknowns and throws them into parts that they are perfectly cast for…Salma Hayak (leader of Eternals, Ajak), Lia McHugh (Sprite), Brian Tyree Henry (Phastos), Lauren Ridloff (Makkari) and Barry Keoghan (Druig) all fit their parts well, with the relationship between Makkari and Druig being particularly interesting.
Speaking of interesting relationships, Ma Dong-seok (so good in the Korean Zombie flick TRAIN TO BUSAN) as Gilgamesh almost steals the screen from MOVIE STAR Angelina Jolie’s Thena…almost. Jolie is a MOVIE STAR that just walks onto the screen and commands your attention - and she is perfectly cast as Thena. It is a very smart use of her talents…and her personae as a MOVIE STAR and works very well.
Finally, it took awhile for the film to figure out what to do with Kumail Nanjiani’s character of Kingo (and Nanjiani’s tremendous comedic talents), but, eventually, they do figure it out - but not entirely - which is really the problem with this film. It ALMOST figures out the formula to make this huge, broad, galactic film very personal, but doesn’t quite get there.
I liked, but didn’t LOVE, ETERNALS. I applaud what this film tries to do and I am fine with where it went and was entertained by it. If this is the first part of a journey, then I am anxious to see where ETERNALS goes from here. If this is a “one-off” film, then it doesn’t, quite, work well enough.
Letter Grade: B
7 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated 1917 (2020) in Movies
Jan 12, 2020
Cinematography (1 more)
Visceral and enormously tense movie experience
Visceral, brilliant and a far from relaxing evening at the movies.
It's already won Best Film at the Golden Globes, and seems set for Oscar glory too. Is Sam Mendes's WW1 epic any good?
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
"The Man is the Mission" - The similarities with the storyline of Spielberg's "Saving Private Ryan" are evident. Lance Corporal Blake (Dean-Charles Chapman) has a brother serving in another battalion of 1,600 men under the command of Colonel Mackenzie (Benedict Cumberbatch). The problem is that they are walking into a trap and are about to be slaughtered when they go over the top at dawn. General Erinmore (Colin Firth) picks Blake and his mate Lance Corporal Will Schofield (George MacKay) to run a dangerous mission to cross no-mans land, break through the German lines and get the message to Mackenzie to call the attack off.
Famously, the movie uses the "Rope" / "Birdman" technique of appearing to film the action as a single continuous take. This adds enormously to the tension as the duo proceed into danger. Aside from a chance meeting with a French foster mother (Claire Duburcq), the tension is maintained at 110% for the film's duration. Which makes for an exhausting watch! Congratulations by the way to Ms Duburcq for bagging the one female role in the whole movie! This is the anti-dote to the female-heavy movies of 2019!
This is a movie you MUST go to see in the cinema. A star of the show is Roger Deakins' cinematography which is just glorious to look at. The hell-holes (literally) of no-mans land are one thing, but then we get the sweeping landscapes of the green french countryside (actually Wiltshire, just a few miles from where I live!). But the really jaw-dropping cinematography for me came in a flare-lit ruined French town. The effect of a raging fire in the distance and the constantly shifting shadows of the ruins is truly spectacular.
All of this is helped by a great score by Thomas Newman, particularly at this moment in the film. The music suits the action perfectly, which is all you can ask for from a score.
I first noticed George MacKay in one of the lead roles in the Proclaimers musical "Sunshine on Leith" and then again in "Pride": both relatively low-key British films. Here he is catapulted onto the global blockbuster stage, and has nowhere to hide being on-screen literally for the whole running time (and he is running!). He doesn't disappoint: the performance is a stellar one and he holds the drama together.
He's got good support though: small but important supporting roles come from not only Firth and Cumberbatch but also Daniel ("Line of Duty") Mays; Andrew ("Kneel!") Scott; Adrian ("Killing Eve") Scarborough and Richard Madden. But my favourite was a quietly strong (no pun intended) from Mark Strong as a friendly captain with good advice for our hero.
Is the single-shot idea a gimmick? Perhaps. But it is extremely effective at maintaining the momentum. Perhaps to a degree it is a bit of a distraction, since I was constantly looking for the cuts (and very clever they are too). But it is undeniably a marvelous piece of film-making. The choreography involved with getting all of those actors and extras moving in unison for the length of some of those takes would make even Busby Berkeley sweat!
There are also some truly extraordinary action shots: a barn scene (and its dramatic aftermath) is one of the most incredible bits of film-making I've seen not just this year (that's not saying much!) but also last year.
The movie is not for the faint-hearted, with some truly gruesome scenes that stick in the mind afterwards. The illustrious Mrs Movie Man spent most of the movie with her hands over her eyes! But in general, this feels authentic. My own grandfather spent 3 days and nights lying wounded in the French mud, before being rescued... by the Germans. War is hell, and the film reflects that.
Director Sam Mendes - also a Golden Globe winner - only goes a bit Hollywood at one point: a musical interlude where an exhausted Schofield creeps into camp (what? no guards?) and listens to a wistful acappella. The realism felt like it went from 10/10 to 7/10.
This is a top-class piece of movie-making and deserves all its award success. I went in with a bit of an "Oscar-bait" attitude; the one-take gimmick peaking my interest but also stoking my cynicism. Was this to be just a technically fabulous movie that would win the awards but not really entertain? But my cynicism was unfounded. It's a gripping watch and a truly memorable movie.
See it. See it at the cinema. And see it at a cinema with as big a screen and with as great a sound system as possible!
(For the full graphical review, please check out the review on One Mann's Movies at https://bob-the-movie-man.com/2020/01/12/one-manns-movies-film-review-1917-2019/ )
