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Leslye Headland recommended Harlots - Season 2 in TV (curated)
Nitin Sawhney recommended Control (2005) in Movies (curated)
Joe Wright’s 2011 film version of Hanna starring Saoirse Ronan, Cate Blanchett and Eric Bana is an odd movie. It isn’t bad. It just doesn’t work. The idea at its heart is great, as are some of the action sequences, there is just something over styled about it that is jarring. I’ve been back to it a few times to see if age helps, but it really doesn’t – Hanna the movie is an admirable failure.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.
So when Amazon announced they were resurrecting the character, the basic story and idea and the essential vibe of Hanna in 2019 as a series… I was pretty sceptical. I doubt to this day I would have watched it at all if I hadn’t stumbled across the trailer and been arrested by the presence of this young girl who had been cast in the main role. She looked wild and vulnerable at the same time, her eyes were piercing and something about her was just jumping off the screen. I went to IMDb as is my habit to find out who she was. Turns out her name was Esme Creed-Miles, the daughter of actors Samantha Morton and Charlie Creed-Miles.
Wow, yes, that made sense! I love Samantha Morton in anything – have done ever since she played Joanne Barnes in Cracker, aged 17. She has a ferocious beauty and edge of danger about her that is entirely feminine but also fearlessly strong and individual. Her roles have always been diverse, because she is capable of total power or intense vulnerability, sometimes in the same character, all laced with a focused intelligence that is quite rare. So, I had basically seen all of that in a two minute trailer staring a chip off the old block. Now I was excited to see it!
I wouldn’t say the set up of season one blew me away, but it did have enough going for it to keep me watching. Not as a binge watch, which usually indicates how much I am into something, but for sure as a steady desire to come back for more in time. Joel Kinnaman made a decent replacement as Erik, the father figure who teaches Hanna to survive, and Mireille Enos was doing a lovely job in the Cate Blanchett role as an ambiguous villain / ally. But it was all about Esme Creed-Miles, who was consistently delivering a performance of mesmerising quality – I could not take my eyes off her. As with the character she was playing there was some learning to be done in understanding the rules of this world, but she had obviously been trained well by a parent with huge experience in these things.
Season one ends with a tantalising cliffhanger, and there didn’t seem to be much of a wait to get back into it in season two, which felt more assured and more mature from the start. It came to me at a weird time in lockdown where I had no internet or means to watch anything I hadn’t downloaded already, which was a handful of films I’d already seen and season two of Hanna. I ended up watching each episode at least three times each, sometimes in a row, and sometimes going back… it just became a real companion to me in an odd way. I got hooked on it in a way I would find hard to describe – sometimes a show does that to us, even when objectively we know it isn’t the best, or most original, thing ever made.
It isn’t badly made by any means, but it is perhaps a little predictable at times. It has a high production standard, but still feels very much like TV and not a feature film in episodes. The action choreography is always great, as is the overall story arch. What is perhaps a little lacking is consistently strong dialogue, directing and supporting acting, especially when the cast of season two depends on a lot of teenagers, none of which have half the natural ability of Creed-Miles.
My main feeling about Hanna is to state I really enjoyed it, without overstating that it is any kind of genius, or is treading any new artistic ground. It is just a solid entertainment worth the time, and I will definitely be looking forward to season three. The entire project has a strong female core, and that is worth seeing in 2021. I suspect the main thing watching this will bring, however, is the genesis of a future superstar. Mark my words – Esme Creed-Miles just turned 21 and the film world is ready for the next Emma Stone, Jennifer Lawrence or… Samantha Morton.
ClareR (5542 KP) rated The Sandman (Audible Original #1) in Books
Sep 6, 2020
Well. Flipping heck. I’m a huge fan of the graphic novels, so I was both hesitant and wildly excited (it’s confusing to be me sometimes) when this popped on to my radar. Of course I preordered it off Audible, I’m not completely daft, and just in time for our holiday in Scotland. A nice, seven hour drive from Chester to the Black Isle (near Inverness - it’s beautiful there, by the way) and time well spent listening to this.
The cast was excellent: James McAvoy as Morpheus/ Dream/ The Sandman (they’re all the same person), Michael Sheen as Lucifer, and a host of other excellent voice actors: Rio Ahmed, Kat Dennings, Taron Egerton, Samantha Morton, Bebe Neuwirth, Andy Serkis and Miriam Margolyes. There are more actors, and they were all wonderful. It was ALL wonderful - it stuck faithfully to the original graphic novels, and Neil Gaiman narrated wonderfully ( I know I need a thesaurus, but ‘wonderful’ is THE word!). Whatever that man touches is golden, it seems to me.
Can you tell I liked it? Actually, I LOVED it. I usually fall asleep on long car journeys (I get terribly car sick, and I don’t drive 🤷🏼♀️), but I stayed awake for the whole time - and didn’t feel sick at all (even during the gory bits!).
The most potentially exciting part for me, is that it says ‘#1’. So I’ve set up my waiting post (I have to work out what that is exactly. I see it as a mental waiting room).
I can’t wait!!
The cast was excellent: James McAvoy as Morpheus/ Dream/ The Sandman (they’re all the same person), Michael Sheen as Lucifer, and a host of other excellent voice actors: Rio Ahmed, Kat Dennings, Taron Egerton, Samantha Morton, Bebe Neuwirth, Andy Serkis and Miriam Margolyes. There are more actors, and they were all wonderful. It was ALL wonderful - it stuck faithfully to the original graphic novels, and Neil Gaiman narrated wonderfully ( I know I need a thesaurus, but ‘wonderful’ is THE word!). Whatever that man touches is golden, it seems to me.
Can you tell I liked it? Actually, I LOVED it. I usually fall asleep on long car journeys (I get terribly car sick, and I don’t drive 🤷🏼♀️), but I stayed awake for the whole time - and didn’t feel sick at all (even during the gory bits!).
The most potentially exciting part for me, is that it says ‘#1’. So I’ve set up my waiting post (I have to work out what that is exactly. I see it as a mental waiting room).
I can’t wait!!
LeftSideCut (3778 KP) rated The Walking Dead - Season 10 in TV
Oct 21, 2020
The latest season of The Walking Dead is why I have trust issues. I was all but done with this show during season 8, and now, I'm genuinely sad that we only have one more season left. Stop playing with my emotions!
Seriously though, season 10 is a proper return to form in my opinion. The show continues to prove that the time jump introduced last season was a positive direction to take.
Finally, I care about almost every character again. Negan is a huge highlight this time around. The contrast between the bonafide maniac he once once, and the humble guy genuinely looking for acceptance now is massive, buts it's pulled off in a way that is 100% believable. Big props to Jeffrey Dean Morgan.
This is the first full season not to feature Rick Grimes, so the position of lead character is shared out between Daryl (Norman Reedus), Carol (Melissa McBride) and Michonne (Danai Gurira). I like all three characters so this wasn't an issue for me. With Daryl and Carol in particular being season 1 veterans, it's easy to be on their side.
The villains are once again The Whisperers. I can acknowledge that TWD has delved into antagonist back stories before, but the amount of time spent with Alpha and Beta is commendable. The more screentime they get, the more unhinged they seem. They feel dangerous. There's a trio of mid season episodes here (Stalker, Morning Star, Walk With Us) that are hugely tense and high stakes, and reminded me of some of The Governor episodes from way back that had me on a seats edge.
Samantha Morton and Ryan Hurst sell these characters so so well, and are some of the best villains this show has seen.
TWD is never going to be the same show it was when it started, and it's taken the show runners a hell of a long time to figure out how it's going to look going forward. With the movies and various spin offs approaching, I feel they've finally found their footing again. Here's hoping for a rager of a final season.
Seriously though, season 10 is a proper return to form in my opinion. The show continues to prove that the time jump introduced last season was a positive direction to take.
Finally, I care about almost every character again. Negan is a huge highlight this time around. The contrast between the bonafide maniac he once once, and the humble guy genuinely looking for acceptance now is massive, buts it's pulled off in a way that is 100% believable. Big props to Jeffrey Dean Morgan.
This is the first full season not to feature Rick Grimes, so the position of lead character is shared out between Daryl (Norman Reedus), Carol (Melissa McBride) and Michonne (Danai Gurira). I like all three characters so this wasn't an issue for me. With Daryl and Carol in particular being season 1 veterans, it's easy to be on their side.
The villains are once again The Whisperers. I can acknowledge that TWD has delved into antagonist back stories before, but the amount of time spent with Alpha and Beta is commendable. The more screentime they get, the more unhinged they seem. They feel dangerous. There's a trio of mid season episodes here (Stalker, Morning Star, Walk With Us) that are hugely tense and high stakes, and reminded me of some of The Governor episodes from way back that had me on a seats edge.
Samantha Morton and Ryan Hurst sell these characters so so well, and are some of the best villains this show has seen.
TWD is never going to be the same show it was when it started, and it's taken the show runners a hell of a long time to figure out how it's going to look going forward. With the movies and various spin offs approaching, I feel they've finally found their footing again. Here's hoping for a rager of a final season.
LeftSideCut (3778 KP) rated The Walking Dead - Season 9 in TV
Feb 6, 2020
Clawing its way back
Contains spoilers, click to show
After a hugely underwhelming couple of seasons, it's nice to see TWD back on a stronger path, with a new showrunner, and new time setting (more on that in a minute).
After All Out War came to a climax at the end of season 8, Rick and co. are now looking towards building a new life. Truly bringing the communities together, including those who remain if The Saviours. It's a fair slow burn start, but the tension between the various camps and those still loyal to Negan is enough to keep things interesting enough.
And then of course, along came Rick Grimes' last episode. Andrew Lincoln has been a massive part of TWD from day one, so his departure is a big deal. The episode itself is pretty powerful, sharing some genuinely emotional moments with visions of characters that are long gone - the then recent passing of actor Scott Wilson (Hershel) was particularly moving - and it concluded Ricks involvement with TWD nicely, whilst leaving the doors wide open for the upcoming movies.
By the episodes end, were thrown a time jump of 7 years, and this is where the bulk of the season unfolds.
The time jump feels like a fresh start, were spared the mourning of Rick's apparent death, and we get to see the communities some time down the line. Characters like Michonne, Carol, Judith, Negan - all feel familiar yet so different. It's an interesting oath to take, but one I think benefited the show as a whole.
The mid-season finale is genuinely thrilling, as we're introduced to The Whisperers, the best villains since The Governor.
Their involvement has injected a genuine feeling of horror back into TWD, that has been missing for a few years.
They're lead by the unhinged, and ruthless Alpha (a fantastic Samantha Morton), and just like that, TWD feels tense once again.
A few new characters (Magna etc) are introduced, and I honestly hated all of them at first, but they grew in me by the end. Same goes for Henry and some of the other teenagers - the first generation to have been born and raised during the zombie apocalypse, another interesting direction.
The season ends with an infamous plot beat from the comic series, and I was left excited for the future of TWD for the first time in a while.
With the show coming to an apparent close in the next few years, I'm hoping that this is the start of a strong conclusion. It's certainly a step in the right direction!
After All Out War came to a climax at the end of season 8, Rick and co. are now looking towards building a new life. Truly bringing the communities together, including those who remain if The Saviours. It's a fair slow burn start, but the tension between the various camps and those still loyal to Negan is enough to keep things interesting enough.
And then of course, along came Rick Grimes' last episode. Andrew Lincoln has been a massive part of TWD from day one, so his departure is a big deal. The episode itself is pretty powerful, sharing some genuinely emotional moments with visions of characters that are long gone - the then recent passing of actor Scott Wilson (Hershel) was particularly moving - and it concluded Ricks involvement with TWD nicely, whilst leaving the doors wide open for the upcoming movies.
By the episodes end, were thrown a time jump of 7 years, and this is where the bulk of the season unfolds.
The time jump feels like a fresh start, were spared the mourning of Rick's apparent death, and we get to see the communities some time down the line. Characters like Michonne, Carol, Judith, Negan - all feel familiar yet so different. It's an interesting oath to take, but one I think benefited the show as a whole.
The mid-season finale is genuinely thrilling, as we're introduced to The Whisperers, the best villains since The Governor.
Their involvement has injected a genuine feeling of horror back into TWD, that has been missing for a few years.
They're lead by the unhinged, and ruthless Alpha (a fantastic Samantha Morton), and just like that, TWD feels tense once again.
A few new characters (Magna etc) are introduced, and I honestly hated all of them at first, but they grew in me by the end. Same goes for Henry and some of the other teenagers - the first generation to have been born and raised during the zombie apocalypse, another interesting direction.
The season ends with an infamous plot beat from the comic series, and I was left excited for the future of TWD for the first time in a while.
With the show coming to an apparent close in the next few years, I'm hoping that this is the start of a strong conclusion. It's certainly a step in the right direction!
BankofMarquis (1832 KP) rated The Whale (2022) in Movies
Mar 5, 2023
Raw and Honest
Give Brendan Fraser the Oscar already.
Hollywood loves a comeback story and the return of Fraser to the Hollywood "A" list is complete with his heart-wrenching, honest turn in Darren Aronofsky's THE WHALE. It is the type of comeback that is deserving of all the accolades and awards that has come his way.
Directed, with restraint not normally associated with Aronofsky, THE WHALE tells the tale of a College Professor who drowns his feelings in food. The film, based on the play (and screenplay) by Samuel D. Hunter follows this Professor, Charlie (Brendan Fraser of THE MUMMY fame) as he seeks to make amends with his estranged daughter as his obesity starts to take it's toll.
Since this is based on a stage play, most of the film takes place inside Charlie's apartment and the number of characters in this film are limited - and all of them hit their mark very well, thanks to the Best Direction that Aronofsky has ever achieved. He limits his usual histrionics, letting the camera focus on the faces and emotions of his characters, keeping movement to a minimum and engrossing the audience in the punch that these emotions provide. It is a shame that he was not Nominated for an Oscar for his work here, it is masterful.
Because of this - and the powerful script by Hunter - the cast of this film shines brightly. From Samantha Morton (MINORITY REPORT) to Ty Simpkins (JURASSIC WORLD) to Sadie Sink (Max Mayfield in Netflix' STRANGER THINGS), Aronofsky draws strong, raw and HONEST performances that elevate as each interact with each other.
Hong Chau (giving her 2nd straight strong performance following her work in the under-rated and under-appreciated THE MENU) is also Oscar Nominated (for Supporting Actress) for her work as Charlie's caregiver. It is a subtle, loving, emotional performance that touches the heart and her Oscar nomination is well deserved.
But, make no mistake about it, this film is Fraser's and he commands it from start to finish. Sure, the "fat suit" he is wearing that gives him the appearance of a 400 lb (+) obese man is jarring, but it is the raw emotions - rage, fear, sadness, hate, self-loathing and love - that Fraser is able to eminate through that wall of prosthetics that is truly astonishing. It is the performance of a career and one that will win him the Oscar.
Welcome back, Brendan Fraser, the movies missed you.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Hollywood loves a comeback story and the return of Fraser to the Hollywood "A" list is complete with his heart-wrenching, honest turn in Darren Aronofsky's THE WHALE. It is the type of comeback that is deserving of all the accolades and awards that has come his way.
Directed, with restraint not normally associated with Aronofsky, THE WHALE tells the tale of a College Professor who drowns his feelings in food. The film, based on the play (and screenplay) by Samuel D. Hunter follows this Professor, Charlie (Brendan Fraser of THE MUMMY fame) as he seeks to make amends with his estranged daughter as his obesity starts to take it's toll.
Since this is based on a stage play, most of the film takes place inside Charlie's apartment and the number of characters in this film are limited - and all of them hit their mark very well, thanks to the Best Direction that Aronofsky has ever achieved. He limits his usual histrionics, letting the camera focus on the faces and emotions of his characters, keeping movement to a minimum and engrossing the audience in the punch that these emotions provide. It is a shame that he was not Nominated for an Oscar for his work here, it is masterful.
Because of this - and the powerful script by Hunter - the cast of this film shines brightly. From Samantha Morton (MINORITY REPORT) to Ty Simpkins (JURASSIC WORLD) to Sadie Sink (Max Mayfield in Netflix' STRANGER THINGS), Aronofsky draws strong, raw and HONEST performances that elevate as each interact with each other.
Hong Chau (giving her 2nd straight strong performance following her work in the under-rated and under-appreciated THE MENU) is also Oscar Nominated (for Supporting Actress) for her work as Charlie's caregiver. It is a subtle, loving, emotional performance that touches the heart and her Oscar nomination is well deserved.
But, make no mistake about it, this film is Fraser's and he commands it from start to finish. Sure, the "fat suit" he is wearing that gives him the appearance of a 400 lb (+) obese man is jarring, but it is the raw emotions - rage, fear, sadness, hate, self-loathing and love - that Fraser is able to eminate through that wall of prosthetics that is truly astonishing. It is the performance of a career and one that will win him the Oscar.
Welcome back, Brendan Fraser, the movies missed you.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Phillip McSween (751 KP) rated Minority Report (2002) in Movies
Jul 19, 2020
I Knew I Would Love it Before I Watched it...See What I Did There?
In the future, “precogs” help predict a murder before it happens. When they predict that John Anderton, head of the precrime divison, will be the next killer, Anderton has to go on the run to prove his innocence.
Acting: 10
We give Tom Cruise shit for being crazy in real life. Say what you want about him on a personal level, the energy that he brings to the big screen is excellent. The way he taps into the emotions of a father that just lost his son hits you with a strong emotional tie to the movie.
Outside of a strong performance from Cruise as John Anderton, it’s also the lesser roles that drive this movie into classic status. Actors/actresses like Lois Smith as the matter-of-fact Dr. Hinneman and Colin Farrell sticking his nose into every single scene as Detective Danny Witwer bring fresh life to this movie throughout its duration. The female performances were particularly strong. This movie just doesn’t function the same without wonderful actresses Samantha Morton and Kathryn Morris helping to drive the story.
Beginning: 10
The first ten minutes really set the stage for the insanity to come. We see the precrime unit led by Anderton moving on their next target: A man who catches his wife in bed cheating, or at least he will. The act has yet to happen, but the unit is there to stop it before it does.
Characters: 10
Anderton is a troubled cop stuck between a terrible past and a troubling future. You can relate to his pain and why he has ended up the way he has. Like Anderton, each character has enough depth and backstory to make you care about them one way or the other. I was particularly drawn to Agatha, head of the precogs, and her story.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
There is a scene in this movie I consider one of the greatest in any film ever done. Anderton has captured the precog Agatha to try and get into her brain to unearth his innocence. With the police in hot pursuit, he has to escape through a mall using Agatha as a cognitive guide to help him escape danger. It is truly a brilliant layout of a scene and it really enhances this movie. This is a movie packed with a number of those same type of scenes that leave an impact in your brain.
Pace: 10
Plot: 10
A brilliant story from cover to cover. Steven Spielberg pulls out the heart and glitz of this movie with true wonder that only he can achieve. There is a reason I consider him the GOAT, because his stories wow you while making you think and feel at the same time. This story couldn’t have been put together more perfectly.
Resolution: 10
The ending couldn’t have been more perfect. It’s all about redemption and starting over. I won’t spoil it by going into further detail.
Overall: 100
Every now and then a movie comes along that manages to sit with me for a long time. It’s the primary reason I consider Minority Report to be the greatest sci-fi movie ever made and #3 on my all-time list. Quite frankly, it’s just plain dope.
Acting: 10
We give Tom Cruise shit for being crazy in real life. Say what you want about him on a personal level, the energy that he brings to the big screen is excellent. The way he taps into the emotions of a father that just lost his son hits you with a strong emotional tie to the movie.
Outside of a strong performance from Cruise as John Anderton, it’s also the lesser roles that drive this movie into classic status. Actors/actresses like Lois Smith as the matter-of-fact Dr. Hinneman and Colin Farrell sticking his nose into every single scene as Detective Danny Witwer bring fresh life to this movie throughout its duration. The female performances were particularly strong. This movie just doesn’t function the same without wonderful actresses Samantha Morton and Kathryn Morris helping to drive the story.
Beginning: 10
The first ten minutes really set the stage for the insanity to come. We see the precrime unit led by Anderton moving on their next target: A man who catches his wife in bed cheating, or at least he will. The act has yet to happen, but the unit is there to stop it before it does.
Characters: 10
Anderton is a troubled cop stuck between a terrible past and a troubling future. You can relate to his pain and why he has ended up the way he has. Like Anderton, each character has enough depth and backstory to make you care about them one way or the other. I was particularly drawn to Agatha, head of the precogs, and her story.
Cinematography/Visuals: 10
Conflict: 10
Entertainment Value: 10
Memorability: 10
There is a scene in this movie I consider one of the greatest in any film ever done. Anderton has captured the precog Agatha to try and get into her brain to unearth his innocence. With the police in hot pursuit, he has to escape through a mall using Agatha as a cognitive guide to help him escape danger. It is truly a brilliant layout of a scene and it really enhances this movie. This is a movie packed with a number of those same type of scenes that leave an impact in your brain.
Pace: 10
Plot: 10
A brilliant story from cover to cover. Steven Spielberg pulls out the heart and glitz of this movie with true wonder that only he can achieve. There is a reason I consider him the GOAT, because his stories wow you while making you think and feel at the same time. This story couldn’t have been put together more perfectly.
Resolution: 10
The ending couldn’t have been more perfect. It’s all about redemption and starting over. I won’t spoil it by going into further detail.
Overall: 100
Every now and then a movie comes along that manages to sit with me for a long time. It’s the primary reason I consider Minority Report to be the greatest sci-fi movie ever made and #3 on my all-time list. Quite frankly, it’s just plain dope.
Bob Mann (459 KP) rated Fantastic Beasts and Where to Find Them (2016) in Movies
Sep 29, 2021
Marvelous Cash Cows and How to Milk Them.
As just about everyone in the whole muggle world (or nomaj world if you’re reading this in the States) knows, FBaWtFT is the first of a five film spin-off series from the Potter franchise, still under the careful stewardship of David Yates. (And if the other films in the series were ‘amber-lit’ rather than ‘green-lit’, their production now seems assured after the US opening weekend alone has brought in nearly half its $180 million budget).
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.
Set in New York in the mid-1920’s Eddie Redmayne (“The Danish Girl”; “The Theory of Everything”) plays Newt Scamander, a Brit newly arrived with a case full of trouble. Newt is a bit like an amiable and ditsy David Attenborough, with a strong desire to protect and establish breeding colonies for endangered species. It’s fair to say though that these are creatures that even Sir David hasn’t yet filmed.
Within the battered old case (a forerunner of Hermione Grainger’s bag, which was probably borrowed from Mary Poppins), Newt stores a menagerie of strange and wonderful creatures which – after a bump and a mishap – get released by wannabe baker and muggle Jacob Kowalski (Dan Fogler, “Fanboys”). Newt has the job of rounding up the strays with the help of Tina (Katherine Waterston, “Steve Jobs”), an out of favour member of the Magical Congress of the USA (MACUSA). Unfortunately this couldn’t be happening at a worse time: something else – nothing to do with Newt – is wreaking havoc across New York and MACUSA is on red alert suspecting the involvement of a dark wizard, Gellert Grindelwald, following attacks in Europe. And keeping the secrets of wizardry from the NoMaj population is getting increasingly difficult, especially with the efforts of the “Second Salemers” movement run by Mary Lou (Samantha Morton, “Minority Report”) and her strange adopted family.
This film will obviously be an enormous success given the love of all things Potter, but is it any good? Well, its different for sure, being set many years before Potter and only having glancing references to Hogwarts and related matters. And that gives the opportunity to start afresh with new characters and new relationships which is refreshing. It’s all perfectly amiable, with Redmayne’s slightly embarrassed lack of eye-contact* in delivering his lines being charming. [* Is this perhaps the second leading character in a month that is high on the autistic spectrum?] . Redmayne does have a tendency to mutter though and (particularly with the sound system for the cinema I saw this in) this made a lot of his dialogue inaudible. Waterston makes for a charming if somewhat insipid heroine, not being given an awful lot to do in the action sequences.
Kowalski adds a humorous balance to the mixture, but the star comic turns are some of the creatures, especially the Niffler… a light fingered magpie-like creature with a voluminous pouch and expensive tastes!
In the ‘I-almost-know-who-that-is-behind-the-make-up-but-can’t-quite-place-him’ role is Ron “Hellboy” Perlman as the untrustworthy gangster Gnarlack. And in another cameo – and probably paid an enormous fee for his 30 seconds of screen time – is Johnny Depp, which was money well-wasted since, like most of his roles, he was completely unrecognisable (I only knew it was him from checking imdb afterwards).
At the pen is J.K.Rowling herself, and there are a few corking lines in the script. However, in common with many of her novels, there is also a tendency for extrapolation and padding. Some judicial editing could have knocked at least twenty minutes off its child-unfriendly 133 minute running time and made a better film. Undoubtedly the first half of the film is better than the second, with the finale slouching into – as my other half put it – “superhero” territory with much CGI destruction and smashing of glass. What is perhaps most surprising about the story is that there are few obvious set-ups for the next film.
Quirky and original, its a film that will no-doubt please Potter fans and it stands as a decent fantasy film in its own right. It’s difficult though to get the smell of big business and exploitation out of your nostrils: no doubt stockings throughout the world will be full of plush toy nifflers this Christmas.