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Phillip McSween (751 KP) rated Duck Soup (1933) in Movies
Jun 29, 2020
Decent Story Held Back By Too Many Confusing Plot Points
In Duck Soup, a wealthy widow offers aid to a struggling country on the condition they make a chaotic idiot their leader.
Acting: 10
Beginning: 10
Characters: 10
Main character Rufus T. Firefly (Groucho Marx) is absolutely hilarious. He has quips for days and he’s always doing something to liven up a scene. The other characters, while good, get lost in the greatness of his funny antics.
Cinematography/Visuals: 10
Numerous setpieces abound here which keeps the movie fresh. The movies’s consistent change of scenery and large visual spectacles propels Duck Soup to almost passable heights. I can appreciate a movie with a constant change of pace, especially older films.
Conflict: 3
I spent a decent amount of this movie trying to figure out just what exactly was going on. The conflict never seemed strong enough for me to think the stakes were worth it. It was clear the focus was more on the comedy aspect rather than driving the story.
Entertainment Value: 8
Memorability: 3
Pace: 10
Plot: 7
Resolution: 5
The ending was meh and that’s me being generous. It was essentially a compounding of the story as a whole which totally lost steam for me towards the back half of the movie. it felt like, by the time we reach the end, the writer forgot what initially made the story great in the first place.
Overall: 76
When you don’t really know what’s going on right off the nose, it makes it hard to settle into the story. Duck Soup does a lot of things rights. However, a solid main character and grandiose scenes aren’t quite enough to mask the fact that the movie falls just shy of being good. Not terrible, but definitely not great.
Acting: 10
Beginning: 10
Characters: 10
Main character Rufus T. Firefly (Groucho Marx) is absolutely hilarious. He has quips for days and he’s always doing something to liven up a scene. The other characters, while good, get lost in the greatness of his funny antics.
Cinematography/Visuals: 10
Numerous setpieces abound here which keeps the movie fresh. The movies’s consistent change of scenery and large visual spectacles propels Duck Soup to almost passable heights. I can appreciate a movie with a constant change of pace, especially older films.
Conflict: 3
I spent a decent amount of this movie trying to figure out just what exactly was going on. The conflict never seemed strong enough for me to think the stakes were worth it. It was clear the focus was more on the comedy aspect rather than driving the story.
Entertainment Value: 8
Memorability: 3
Pace: 10
Plot: 7
Resolution: 5
The ending was meh and that’s me being generous. It was essentially a compounding of the story as a whole which totally lost steam for me towards the back half of the movie. it felt like, by the time we reach the end, the writer forgot what initially made the story great in the first place.
Overall: 76
When you don’t really know what’s going on right off the nose, it makes it hard to settle into the story. Duck Soup does a lot of things rights. However, a solid main character and grandiose scenes aren’t quite enough to mask the fact that the movie falls just shy of being good. Not terrible, but definitely not great.
Bob Mann (459 KP) rated Judy (2019) in Movies
Sep 28, 2021
Neither a true biopic nor a musical, a very sad and sombre film worth seeing for a sure-fire nominee for Zellweger for the Oscars.
Decline and Fall (Part 1).
This is an extremely sombre film. I will go as far as saying that it is well-and-truly a “Father Ted” film (see glossary).
The Story.
Young Judy Garland is a starlet in the MGM studio system run by Louis B. Mayer (a villainous Richard Cordery). She doesn’t have a life outside of the movies; is fed diet pills and “pep-pills” that destroy her sleep; and she is starting to get fed up with it all. No wonder then that she grows up to be an alcoholic insomniac with a trail of failed marriages and a temperamental nature.
Thus, through flash-backs to the young Judy (the English Darci Shaw, in her movie debut) we track the older Judy (Renée Zellweger) through the last tragic years of her life. Unable to work, due to a reputation that proceeds her, she is forced to take up the offer from Bernard Delfont (Michael Gambon) of a residency at London’s “Talk of the Town”. This separates her from her older daughter (Liza Minnelli played by Gemma-Leah Devereux) and, crucially, her younger children Lorna (Bella Ramsey) and Joey (Lewin Lloyd). (Their Dad is Sidney Luft (“Victoria’s” Rufus Sewell): hence Lorna being Lorna Luft). This separation increases Judy’s mental decline.
Also in a constant state of stress is Rosalyn Wilder (Jessie Buckley) who has the unenviable job of trying to keep Garland on the straight and narrow to perform every night.
A Towering Performance.
Whatever I think about the film overall (and we’ll come to that), this is 100% the “Renée Zellweger show”. It’s an extraordinary performance, and is pitch perfect, both in terms of capturing Garland’s mannerisms and vocal style. If Zellweger doesn’t get an Oscar nomination for this then I’ll eat my favourite orange baseball hat! I’ll have to review the final short-list, but I would not be remotely surprised if she won for this.
Elsewhere is the cast, Michael Gambon gives a reliable performance as Delfont (his second depiction this year after the turn by Rufus Jones in “Stan and Ollie“!) and the rising star that is Jessie Buckley is also effective as Wilder in a much quieter role than we’re used to seeing her in.
Musical? Or biopic?
Is this a musical? Or a biopic? Or neither? Actually, I would suggest it’s neither. There’s been a curious split in the last year between films like “Bohemian Rhapsody“, which were biopics with music, to “Rocketman” which was very much a musical based around a biopic.
“Judy” can’t be classed as a musical since (and I checked my watch) the first musical number doesn’t come until FORTY MINUTES into the picture. Neither is it a true biopic, focusing only on a few short months of Garland’s extensive career, the ‘young Judy’ scenes being nothing but short flashbacks to set the scene. This probably makes sense, else a true biopic of the wonder that was Judy Garland would have turned into a 4 hour plus epic!
A rough ride, but could I care?
Above all, it’s a depressing watch, like seeing a sick animal in distress. But I never felt the film got to the heart of the matter to really make me CARE enough. The nearest it gets is with a moving portion where Judy makes the evening (if not the lifetime) of some super-fans – Dan (Andy Nyman) and Stan (Daniel Cerqueira). She goes home with them for omelettes and a sing-song: a strong nod towards Garland’s extensive following, even today, among the gay community. The finale, where the couple try to salvage an on-stage psychiatric session by Judy is touching but, for me, not tear-inducing.
The screenplay is by Tom Edge, from the stage play by Peter Quilter. The director is relative movie-newcomer Rupert Goold.
I liked this movie, but did I like it enough to rush and see it again? No, not really. Worth seeing though to appreciate the odds-on favourite (surely!) for the Best Actress Oscar of this year.
This is an extremely sombre film. I will go as far as saying that it is well-and-truly a “Father Ted” film (see glossary).
The Story.
Young Judy Garland is a starlet in the MGM studio system run by Louis B. Mayer (a villainous Richard Cordery). She doesn’t have a life outside of the movies; is fed diet pills and “pep-pills” that destroy her sleep; and she is starting to get fed up with it all. No wonder then that she grows up to be an alcoholic insomniac with a trail of failed marriages and a temperamental nature.
Thus, through flash-backs to the young Judy (the English Darci Shaw, in her movie debut) we track the older Judy (Renée Zellweger) through the last tragic years of her life. Unable to work, due to a reputation that proceeds her, she is forced to take up the offer from Bernard Delfont (Michael Gambon) of a residency at London’s “Talk of the Town”. This separates her from her older daughter (Liza Minnelli played by Gemma-Leah Devereux) and, crucially, her younger children Lorna (Bella Ramsey) and Joey (Lewin Lloyd). (Their Dad is Sidney Luft (“Victoria’s” Rufus Sewell): hence Lorna being Lorna Luft). This separation increases Judy’s mental decline.
Also in a constant state of stress is Rosalyn Wilder (Jessie Buckley) who has the unenviable job of trying to keep Garland on the straight and narrow to perform every night.
A Towering Performance.
Whatever I think about the film overall (and we’ll come to that), this is 100% the “Renée Zellweger show”. It’s an extraordinary performance, and is pitch perfect, both in terms of capturing Garland’s mannerisms and vocal style. If Zellweger doesn’t get an Oscar nomination for this then I’ll eat my favourite orange baseball hat! I’ll have to review the final short-list, but I would not be remotely surprised if she won for this.
Elsewhere is the cast, Michael Gambon gives a reliable performance as Delfont (his second depiction this year after the turn by Rufus Jones in “Stan and Ollie“!) and the rising star that is Jessie Buckley is also effective as Wilder in a much quieter role than we’re used to seeing her in.
Musical? Or biopic?
Is this a musical? Or a biopic? Or neither? Actually, I would suggest it’s neither. There’s been a curious split in the last year between films like “Bohemian Rhapsody“, which were biopics with music, to “Rocketman” which was very much a musical based around a biopic.
“Judy” can’t be classed as a musical since (and I checked my watch) the first musical number doesn’t come until FORTY MINUTES into the picture. Neither is it a true biopic, focusing only on a few short months of Garland’s extensive career, the ‘young Judy’ scenes being nothing but short flashbacks to set the scene. This probably makes sense, else a true biopic of the wonder that was Judy Garland would have turned into a 4 hour plus epic!
A rough ride, but could I care?
Above all, it’s a depressing watch, like seeing a sick animal in distress. But I never felt the film got to the heart of the matter to really make me CARE enough. The nearest it gets is with a moving portion where Judy makes the evening (if not the lifetime) of some super-fans – Dan (Andy Nyman) and Stan (Daniel Cerqueira). She goes home with them for omelettes and a sing-song: a strong nod towards Garland’s extensive following, even today, among the gay community. The finale, where the couple try to salvage an on-stage psychiatric session by Judy is touching but, for me, not tear-inducing.
The screenplay is by Tom Edge, from the stage play by Peter Quilter. The director is relative movie-newcomer Rupert Goold.
I liked this movie, but did I like it enough to rush and see it again? No, not really. Worth seeing though to appreciate the odds-on favourite (surely!) for the Best Actress Oscar of this year.
BankofMarquis (1832 KP) rated Judy (2019) in Movies
Feb 6, 2020
Brilliant performance by Zellwegger - and not much else
Renee Zellwegger is absolutely brilliant in her channeling of Judy Garland in the film JUDY. She deserves to - and WILL WIN - the Oscar for Best Actress. Her performance is amazing and I forgot that I was watching an actress playing Judy Garland and fell into a trance thinking I was actually watching the real Judy Garland.
Too bad the rest of the film is not this good.
Based on actual events, JUDY tells the story of a late in her career Judy Garland's trek to London for a series of Concerts. She is down on her luck, addicted to pills, filled with self doubt and ghosts from her past. In general...she is a wreck...and needs the $$ from these concerts to keep custody of her 2 young children.
And...Zellwegger plays all of these emotions as Judy very, very well as well as shining in the performance scenes where Judy was able - albeit for a short time - to "come up for air" and perform as the world class performer she is. Zellwegger trained for over a year with a vocal coach to get the singing/performance part of this film down - and it shows. She is brilliant in these moments.
The trouble with this film as written by Tom Edge (based on the stage play "End of the Rainbow" by Peter Quilter) and Director Rupert Goold is that this film doesn't really go anywhere. There is no arc to Judy's story. She starts the film as a trainwreck...and ends the film as a trainwreck. There isn't evem a realization by Judy that she is a trainwreck. She just IS a trainwreck.
And that does not a compelling movie make.
Rufus Sewell, Jessie Buckley, Finn Wittrock and Michael Gambon are all along for a ride on this train and all choose to get off before the end and the inevitable trainwreck that is going to happen.
Is this film worth seeing? Sure...for Zellwegger's Oscar winning performance. Unfortunately, it doesn't have anything else to recommend it.
Letter Grade B (solely on the performance)
7 stars (out of 10) and you can take that to the Bank (OfMarquis)
Too bad the rest of the film is not this good.
Based on actual events, JUDY tells the story of a late in her career Judy Garland's trek to London for a series of Concerts. She is down on her luck, addicted to pills, filled with self doubt and ghosts from her past. In general...she is a wreck...and needs the $$ from these concerts to keep custody of her 2 young children.
And...Zellwegger plays all of these emotions as Judy very, very well as well as shining in the performance scenes where Judy was able - albeit for a short time - to "come up for air" and perform as the world class performer she is. Zellwegger trained for over a year with a vocal coach to get the singing/performance part of this film down - and it shows. She is brilliant in these moments.
The trouble with this film as written by Tom Edge (based on the stage play "End of the Rainbow" by Peter Quilter) and Director Rupert Goold is that this film doesn't really go anywhere. There is no arc to Judy's story. She starts the film as a trainwreck...and ends the film as a trainwreck. There isn't evem a realization by Judy that she is a trainwreck. She just IS a trainwreck.
And that does not a compelling movie make.
Rufus Sewell, Jessie Buckley, Finn Wittrock and Michael Gambon are all along for a ride on this train and all choose to get off before the end and the inevitable trainwreck that is going to happen.
Is this film worth seeing? Sure...for Zellwegger's Oscar winning performance. Unfortunately, it doesn't have anything else to recommend it.
Letter Grade B (solely on the performance)
7 stars (out of 10) and you can take that to the Bank (OfMarquis)
Jesters_folly (230 KP) rated Bill & Ted Face the Music (2020) in Movies
Sep 16, 2020
Contains spoilers, click to show
25 years after their Bogus Journey, Wylde Stallions are on the verge of splitting up only to be told that they only only have 70 minuets to wright and perform the song that will bring harmony to, not only all of time but reality itself.
Bill & Ted Face the Music is an amalgam of the two previous films that is designed the trilogy or pass it on to the next generation and is split into two narratives. Bill and Ted head to the future to try to find the song, save their marriage and avoid being killed by robot from the future whilst their daughters have their own Excellent Adventure, travelling back in time to put the ultimate band together.
Bill & Ted Face the music tries to replicate the feel of the previous films and, for the most part succeeds, Keanu Reeves and Alex Winter both do well in portraying an ageing Bill & Ted who are trying to live up to their destiny whilst keeping their lives together as well a number of future Bill and Ted's who all have their own agenda and it's nice to many of the original cast back in their original roles, even George Carlin makes a cameo as Rufus (kind of).
New comers to the franchise, Samara Weaving and Brigette Lundy-Paine do a fair job as Thea and Billie, Bill & Teds teenage daughters, both of whom are exactly like their respective farther's but more modern.
The only two complaints I would have is that the robot is very annoying, he's meant to be but it just doesn't seem to work. Also I didn't know who Kid Cudi was (Showing my age and musical tastes here).
Bill & Ted Face the music is great, fun film that is, in essence, a tribute to the enjoyment and power of music, it fails only in the fact that it doesn't really have an effective bad guy, it tries to replicate De Nomolos, or at least his robots from Bogus Journey but, like Excellent Adventure it would have worked (almost) without him as he was really only used for one reason.
Oh and FYI there is an end of credits scene so make sure you sit through to the end.
Bill & Ted Face the Music is an amalgam of the two previous films that is designed the trilogy or pass it on to the next generation and is split into two narratives. Bill and Ted head to the future to try to find the song, save their marriage and avoid being killed by robot from the future whilst their daughters have their own Excellent Adventure, travelling back in time to put the ultimate band together.
Bill & Ted Face the music tries to replicate the feel of the previous films and, for the most part succeeds, Keanu Reeves and Alex Winter both do well in portraying an ageing Bill & Ted who are trying to live up to their destiny whilst keeping their lives together as well a number of future Bill and Ted's who all have their own agenda and it's nice to many of the original cast back in their original roles, even George Carlin makes a cameo as Rufus (kind of).
New comers to the franchise, Samara Weaving and Brigette Lundy-Paine do a fair job as Thea and Billie, Bill & Teds teenage daughters, both of whom are exactly like their respective farther's but more modern.
The only two complaints I would have is that the robot is very annoying, he's meant to be but it just doesn't seem to work. Also I didn't know who Kid Cudi was (Showing my age and musical tastes here).
Bill & Ted Face the music is great, fun film that is, in essence, a tribute to the enjoyment and power of music, it fails only in the fact that it doesn't really have an effective bad guy, it tries to replicate De Nomolos, or at least his robots from Bogus Journey but, like Excellent Adventure it would have worked (almost) without him as he was really only used for one reason.
Oh and FYI there is an end of credits scene so make sure you sit through to the end.
Letters Never Read by Dori Freeman
Album Watch
A gifted singer and songwriter whose music puts a contemporary spin on classic folk and country...
pop folk
Darren (1599 KP) rated A Time to Kill (1996) in Movies
Jun 20, 2019
Story: A Time to Kill starts a we see 10-year-old Tonya beaten and raped by Billy Ray Cobb (Katt) and James Louis Willard (Hutchison) and with the case taken to court it looks like they will get off the charge, her father Carl Lee Hailey (Jackson) takes matters into his own hands.
Carl Lee facing a double murder charge Jake Tyler Brigance (McConaughey) takes the case having to go up against powerful DA Rufus Buckley (Spacey) in what is a case fuelled with racial tension.
When the case brings the Ku Klux Klan back from grave Jake puts his own family in danger but thanks to young law student Ellen Roark (Bullock) and his mentor Lucien Wilbanks (D.Sutherland) to help him keep his business a float and win this case.
A Time to Kill is a racial driven courtroom crime thriller that touches on everything with the nice amount of time. We get left to question what you would do if you were in any of the position between the case which is a huge plus for the film. The idea that we get the racial tension going on because of how the case could be treated differently depending on the skin colour of a character also helps drive the story. when it comes to courtroom drama this is by fair one of the best out there.
Actor Review
Matthew McConaughey: Jake Tyler Brigance is a young lawyer who has taken over a small law firm from his mentor who struggles to keep the business afloat. When this case comes his way he wants to do the right thing because he knows how this can be a difficult decision and believe he can win the case against the odds. Matthew shows early on in his career he could handle the serious films in leading role.
Sandra Bullock: Ellen Roark is a young law student who has helped on many murder cases and wants to help Jake with this case to help clear Carl Lee from the charges. She has different political beliefs to him which they do class on but their passion together can drive the case. Sandra shines in this role in her early career showing how she can pull of the serious roles too.
Samuel L Jackson: Carl Lee Hailey is the man that finds his daughter beaten and raped and decides to take justice into his own hands by killing the men involved. He doesn’t care what happens to him just as long as he makes these men pay but not faces a double murder charge. Samuel is great in this role as a man who got pushed to his limits.
Kevin Spacey: D A Rufus Buckley is the cocky DA who thinks this case is a slam dunk as he knows he can get the white man’s vote on the jury and questions Jake ability in a courtroom. Kevin while playing a standard character for the villain of the courtroom hit it ot the park in every scene.
Support Cast: A Time to Kill has a supporting cast which is filled with stars in nearly every scene and each one gives a brilliant performance throughout the film.
Director Review: Joel Schumacher – Joel gives us one of his best films that balance the racial tension with the crime case perfectly.
Crime: A Time to Kill leaves us in the middle of a court case handle a sensitive subject which poses us questions on where you would stand on such a case.
Thriller: A Time to Kill does keep us one edge wondering where the next twist will come in the story be it in the courtroom or the tension building outside the courts.
Settings: A Time to Kill keeps nearly all the settings within the Louisiana town where racial tension is still strong and you can see the difference in both sides even with the same struggles.
Suggestion: A Time to Kill is one of the most must watch courtroom dramas out there with such a sensitive subject. (Must Watch)
Best Part: Closing speech.
Worst Part: Slightly long if you are being picky.
Believability: Parts could be.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $40 Million
Runtime: 2 Hours 29 Minutes
Tagline: A lawyer and his assistant fighting to save a father on trial for murder. A time to question what they believe. A time to doubt what they trust. And no time for mistakes.
Overall: One of the all-time best courtroom drams out there
https://moviesreview101.com/2016/11/06/matthew-mcconaughey-weekend-a-time-to-kill-1996/
Carl Lee facing a double murder charge Jake Tyler Brigance (McConaughey) takes the case having to go up against powerful DA Rufus Buckley (Spacey) in what is a case fuelled with racial tension.
When the case brings the Ku Klux Klan back from grave Jake puts his own family in danger but thanks to young law student Ellen Roark (Bullock) and his mentor Lucien Wilbanks (D.Sutherland) to help him keep his business a float and win this case.
A Time to Kill is a racial driven courtroom crime thriller that touches on everything with the nice amount of time. We get left to question what you would do if you were in any of the position between the case which is a huge plus for the film. The idea that we get the racial tension going on because of how the case could be treated differently depending on the skin colour of a character also helps drive the story. when it comes to courtroom drama this is by fair one of the best out there.
Actor Review
Matthew McConaughey: Jake Tyler Brigance is a young lawyer who has taken over a small law firm from his mentor who struggles to keep the business afloat. When this case comes his way he wants to do the right thing because he knows how this can be a difficult decision and believe he can win the case against the odds. Matthew shows early on in his career he could handle the serious films in leading role.
Sandra Bullock: Ellen Roark is a young law student who has helped on many murder cases and wants to help Jake with this case to help clear Carl Lee from the charges. She has different political beliefs to him which they do class on but their passion together can drive the case. Sandra shines in this role in her early career showing how she can pull of the serious roles too.
Samuel L Jackson: Carl Lee Hailey is the man that finds his daughter beaten and raped and decides to take justice into his own hands by killing the men involved. He doesn’t care what happens to him just as long as he makes these men pay but not faces a double murder charge. Samuel is great in this role as a man who got pushed to his limits.
Kevin Spacey: D A Rufus Buckley is the cocky DA who thinks this case is a slam dunk as he knows he can get the white man’s vote on the jury and questions Jake ability in a courtroom. Kevin while playing a standard character for the villain of the courtroom hit it ot the park in every scene.
Support Cast: A Time to Kill has a supporting cast which is filled with stars in nearly every scene and each one gives a brilliant performance throughout the film.
Director Review: Joel Schumacher – Joel gives us one of his best films that balance the racial tension with the crime case perfectly.
Crime: A Time to Kill leaves us in the middle of a court case handle a sensitive subject which poses us questions on where you would stand on such a case.
Thriller: A Time to Kill does keep us one edge wondering where the next twist will come in the story be it in the courtroom or the tension building outside the courts.
Settings: A Time to Kill keeps nearly all the settings within the Louisiana town where racial tension is still strong and you can see the difference in both sides even with the same struggles.
Suggestion: A Time to Kill is one of the most must watch courtroom dramas out there with such a sensitive subject. (Must Watch)
Best Part: Closing speech.
Worst Part: Slightly long if you are being picky.
Believability: Parts could be.
Chances of Tears: No
Chances of Sequel: No
Post Credits Scene: No
Oscar Chances: No
Budget: $40 Million
Runtime: 2 Hours 29 Minutes
Tagline: A lawyer and his assistant fighting to save a father on trial for murder. A time to question what they believe. A time to doubt what they trust. And no time for mistakes.
Overall: One of the all-time best courtroom drams out there
https://moviesreview101.com/2016/11/06/matthew-mcconaughey-weekend-a-time-to-kill-1996/
Guitar! by Smule
Music and Social Networking
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Play guitar alongside top singers from our companion app: Sing! Karaoke. Add personal flourishes on...
Bob Mann (459 KP) rated A United Kingdom (2017) in Movies
Sep 29, 2021
“In to Africa”.
I managed to miss this film when it was first shown at the end of 2016. And what a shame as it would have UNDOUBTEDLY made my “Films of the Year” list.
Directed by Amma Asante (“Belle”) this is the true tale of a real-life fairy story, featuring a handsome prince and his love, who can never be his princess thanks to the Machievellian schemings of court-do-gooders and bureaucrats.
The prince in this case is Seretse Kham (David Oyelowo, “Selma“) , heir to the throne of Bechuanaland (now Botswana), who meets and falls in love with a lowly white Lloyd’s of London clerk Ruth Williams (Rosamund Pike, “Gone Girl“, “The World’s End“). The plot has many parallels with that of another film from earlier this year: “Loving” with Ruth Negga and Joel Edgerton. As an inter-racial couple in 1947 this is taboo enough, but the fact that Kham is soon to be king in a country bordering the apartheid tinderkeg that is South Africa blows the affair up to be a diplomatic crisis.
Concern in the corridors of power for Prime Minister Atlee (Anton Lesser) being faced up to by the couple’s supporter – a young Anthony Wedgewood Benn (Jack Lowden).
Defying the officials he marries his true love, driving a wedge between both his own uncle (Vusi Kunene ) and sister (Terry Pheto) and making Ruth an outcast in both countries. As things turn from bad to worse, can true love conquer all their adversities?
Just everything about this film delights. Oyelowo and Pike – always a safe pair of hands – add real emotional depth to their roles. Their relationship feels natural and loving without either of them trying too hard. The estrangement of Ruth from her parents (particularly her father played by Nicholas Lyndhurst) is truly touching.
Another star turn is Harry Potter alumni Tom Felton, playing Rufus Lancaster – a weaselly and very unpleasant local official. I have a prediction…. that in 30 year’s time, the young Potter actor that will be the ‘Ian McKellen of his day’ (that is, a world recognized great actor… not necessarily gay!) will be Felton.
Sam McCurdy (“The Descent”) delivers cinematography of Africa that is vibrant (to be fair, for anyone lucky enough to visit Africa will know, cameras just love the place) and the John Barry-esque music by Patrick Doyle (“Murder on the Orient Express“) is pitch perfect for the mood.
When it says “Based on a true story” it means it: the real family.
A beautifully crafted film that older viewers will just love.
Directed by Amma Asante (“Belle”) this is the true tale of a real-life fairy story, featuring a handsome prince and his love, who can never be his princess thanks to the Machievellian schemings of court-do-gooders and bureaucrats.
The prince in this case is Seretse Kham (David Oyelowo, “Selma“) , heir to the throne of Bechuanaland (now Botswana), who meets and falls in love with a lowly white Lloyd’s of London clerk Ruth Williams (Rosamund Pike, “Gone Girl“, “The World’s End“). The plot has many parallels with that of another film from earlier this year: “Loving” with Ruth Negga and Joel Edgerton. As an inter-racial couple in 1947 this is taboo enough, but the fact that Kham is soon to be king in a country bordering the apartheid tinderkeg that is South Africa blows the affair up to be a diplomatic crisis.
Concern in the corridors of power for Prime Minister Atlee (Anton Lesser) being faced up to by the couple’s supporter – a young Anthony Wedgewood Benn (Jack Lowden).
Defying the officials he marries his true love, driving a wedge between both his own uncle (Vusi Kunene ) and sister (Terry Pheto) and making Ruth an outcast in both countries. As things turn from bad to worse, can true love conquer all their adversities?
Just everything about this film delights. Oyelowo and Pike – always a safe pair of hands – add real emotional depth to their roles. Their relationship feels natural and loving without either of them trying too hard. The estrangement of Ruth from her parents (particularly her father played by Nicholas Lyndhurst) is truly touching.
Another star turn is Harry Potter alumni Tom Felton, playing Rufus Lancaster – a weaselly and very unpleasant local official. I have a prediction…. that in 30 year’s time, the young Potter actor that will be the ‘Ian McKellen of his day’ (that is, a world recognized great actor… not necessarily gay!) will be Felton.
Sam McCurdy (“The Descent”) delivers cinematography of Africa that is vibrant (to be fair, for anyone lucky enough to visit Africa will know, cameras just love the place) and the John Barry-esque music by Patrick Doyle (“Murder on the Orient Express“) is pitch perfect for the mood.
When it says “Based on a true story” it means it: the real family.
A beautifully crafted film that older viewers will just love.
BankofMarquis (1832 KP) rated The Father (2020) in Movies
Apr 7, 2021
1st half is GREAT! The 2nd half? Not so much...
THE FATHER is one of those types of films that, generally, I would not seek out - except at Oscar time. A small, “drawing room” type of drama, based on a stage play and starring a couple of Oscar winning performers at it’s core.
And that is enough to make this film very entertaining and interesting…but, unfortunately…this piece of entertainment falls flat at the end, so one will have to be contented to watching a decent drawing room drama (based on a Stage play) starring 2 strong Oscar winning actors at it’s core.
Written and Directed by Florian Zeller, THE FATHER tells the tale of a…well…FATHER, who is aging and mentally deteriorating. His daughter is trying to aide him and bring him comfort, but his befuddled mind begins to see things (conspiracies) that are not there…or are they?
Zeller wrote the lead role, specifically for Anthony Hopkins and it is a very good thing that Hopkins agree to this role for he is in EVERY scene and commands this picture as only a performer of Hopkins stature and abilities can. Hopkins is, rightfully, nominated for this performance and could pull the upset (but I highly doubt it).
Strongly supporting him - in an Oscar nominated turn herself - as Olivia Colman as his daughter. She has the much less flashy - but no less important - role in this drama and Hopkins would not be as good as he is without her to play against.
Zeller (who was nominated for an Oscar for his Screenplay adaptation of his Stage Play) was smart to cast a strong ensemble of British Stage Actors for this film - Mark Gattis, Olivia Williams, Rufus Sewell and Imogen Poots are all strong, interesting people to watch on screen and they help bring an air of seriousness and gravitas to the proceedings.
The first half of this film is extremely fascinating to watch and I was intrigued by the premise, the direction, the script and the direction it seemed to be headed. But…unfortunately (at least for me) the 2nd half of the film (and I would imagine, the Stage Play) never, really capitalizes on the promise of the first half and THE FATHER just sorts of peters out in the end.
Which, I guess, you could say for the poor souls who suffer from dementia, but I don’t think that was the point that Zeller was trying to make.
Letter Grade: A- (did I mention that I really, really liked the first half)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
And that is enough to make this film very entertaining and interesting…but, unfortunately…this piece of entertainment falls flat at the end, so one will have to be contented to watching a decent drawing room drama (based on a Stage play) starring 2 strong Oscar winning actors at it’s core.
Written and Directed by Florian Zeller, THE FATHER tells the tale of a…well…FATHER, who is aging and mentally deteriorating. His daughter is trying to aide him and bring him comfort, but his befuddled mind begins to see things (conspiracies) that are not there…or are they?
Zeller wrote the lead role, specifically for Anthony Hopkins and it is a very good thing that Hopkins agree to this role for he is in EVERY scene and commands this picture as only a performer of Hopkins stature and abilities can. Hopkins is, rightfully, nominated for this performance and could pull the upset (but I highly doubt it).
Strongly supporting him - in an Oscar nominated turn herself - as Olivia Colman as his daughter. She has the much less flashy - but no less important - role in this drama and Hopkins would not be as good as he is without her to play against.
Zeller (who was nominated for an Oscar for his Screenplay adaptation of his Stage Play) was smart to cast a strong ensemble of British Stage Actors for this film - Mark Gattis, Olivia Williams, Rufus Sewell and Imogen Poots are all strong, interesting people to watch on screen and they help bring an air of seriousness and gravitas to the proceedings.
The first half of this film is extremely fascinating to watch and I was intrigued by the premise, the direction, the script and the direction it seemed to be headed. But…unfortunately (at least for me) the 2nd half of the film (and I would imagine, the Stage Play) never, really capitalizes on the promise of the first half and THE FATHER just sorts of peters out in the end.
Which, I guess, you could say for the poor souls who suffer from dementia, but I don’t think that was the point that Zeller was trying to make.
Letter Grade: A- (did I mention that I really, really liked the first half)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)