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LeftSideCut (3778 KP) rated The Man Who Killed Hitler and Then the Bigfoot (2018) in Movies
Dec 9, 2020
The Man Who Killed Hitler and Then the Bigfoot is a fantasticly B-Movie style title, hiding a genuinely touching and quite beautiful character drama.
The film focuses on the life of Calvin Barr, an old man portrayed by Sam Elliott. He's a guy who's lonely, seen some shit in his time, and feeling his age until one day, he's approached by the government to hunt and kill the legendary Bigfoot, and put a stop to a potential world ending plague. Calvin is a bit of a legendary creature himself, having served in WWII, and is said to have killed Hitler himself before it was covered up, and his immunity to this killer plague makes him the perfect candidate.
This quirky other wordly narrative is quite a jarring contrast to the otherwise grounded drama that makes up the rest of the plot. Flashbacks tell of Calvin's life before the war, and how he met the woman he wanted to marry. It's essentially a love story, that veers into bonkers territory at the flick of a switch.
Somehow though, it all works really well. The screenplay is top notch and gives us some engaging characters with a great cast. Sam Elliott has the grizzled old man role down to a tee by now. Aidan Turner plays the younger Calvin, and the relationship between him and Caitlin Fitzgerald's character is believable and touching. Larry Miller also stars as Calvin's brother and the two of them also have decent chemistry.
This movie is overflowing with gorgeous shots. The last third especially is a visual feast, and it's all complimented by a wonderful score, courtesy of Joe Kraemer.
If you're looking for a schlocky bad-good film suggested by the title then you're in the wrong place. This is a charming and quirky character drama with sprinkles of a creature feature, and I can fully see why some might not get on with it, but for me, it just works.
The film focuses on the life of Calvin Barr, an old man portrayed by Sam Elliott. He's a guy who's lonely, seen some shit in his time, and feeling his age until one day, he's approached by the government to hunt and kill the legendary Bigfoot, and put a stop to a potential world ending plague. Calvin is a bit of a legendary creature himself, having served in WWII, and is said to have killed Hitler himself before it was covered up, and his immunity to this killer plague makes him the perfect candidate.
This quirky other wordly narrative is quite a jarring contrast to the otherwise grounded drama that makes up the rest of the plot. Flashbacks tell of Calvin's life before the war, and how he met the woman he wanted to marry. It's essentially a love story, that veers into bonkers territory at the flick of a switch.
Somehow though, it all works really well. The screenplay is top notch and gives us some engaging characters with a great cast. Sam Elliott has the grizzled old man role down to a tee by now. Aidan Turner plays the younger Calvin, and the relationship between him and Caitlin Fitzgerald's character is believable and touching. Larry Miller also stars as Calvin's brother and the two of them also have decent chemistry.
This movie is overflowing with gorgeous shots. The last third especially is a visual feast, and it's all complimented by a wonderful score, courtesy of Joe Kraemer.
If you're looking for a schlocky bad-good film suggested by the title then you're in the wrong place. This is a charming and quirky character drama with sprinkles of a creature feature, and I can fully see why some might not get on with it, but for me, it just works.
Darren Fisher (2447 KP) rated Tough to Kill (Duri a morire) (1978) in Movies
Dec 13, 2020 (Updated Dec 13, 2020)
Not so much Tough to Kill as Probably Quite Easy to Kill
Not so much Tough to Kill as Probably Quite Easy to Kill, as the main character gets a bullet in the leg early on in the film and is carried around a lot in the jungle. Poor bloke doesn't really get a chance to prove if he's tough to kill or not until nearer the end of the film. Even then, I'd rate my chances if we had to fight it out in a sweaty jungle...
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
Our main protagonist Martin (Luc Merenda), is a (apparently) ruthless mercenary who accepts a mission to find a hired killer who is hiding out with a group of mercenaries in a South American jungle. When members of the group get wind that there is a price on the hired killers head things get a tad messy and they end up fighting amongst themselves to claim the bounty.
Certainly not directors Joe D'Amato's finest hour but it is a fun ride nonetheless.
Those expecting the usual nudity and gore from a D'Amato flick will be disappointed though, as this is a pure Boys Own testosterone fueled adventure.
Not that I'm complaining, as it has all the ingredients of a staple low budget film. Bad and often hilarious dialogue. Check. Gaping plot holes. Check. Nonsensical narrative. Check. Stock footage. Check. Crap explosions. Check. And so on...
Donald O'Brien, who is no stranger to low budget flicks, is great to watch as Major Hagerty. He pretty much dominates the film, outacting the entire cast (although that isn't particularly difficult).
The 'specially adapted' assault course, the shootout barrel run, and saving the rabbit from drowning scenes are some of the highlights on show. The twist ending is blindingly obvious though. Pure trash fun!
NOTE: The transfer I watched was terrible. More grain, dropouts, and interference than you could shake an exploitation stick at. Although it did kind of add to the enjoyment, if like myself, it gets you yearning for the good old days of vhs.
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LeftSideCut (3778 KP) rated Till Death (2021) in Movies
Oct 6, 2021
Contains spoilers, click to show
Till Death is a pretty middle-of-the-road thriller that somehow manages to both benefit and suffer from its no-nonsense approach to, well everything really. On the one hand, it's premise is an enticing one - after finding out about her affair, Emma's (Megan Fox) husband leads her out to a remote cabin under the false pretense of an anniversary getaway, handcuffs the two of them together by the wrists, and proceeds to shoot himself, leaving her attached to his dead body and fighting for her life when two hitmen come by to finish the job. This setup leads to a decent amount of tension, it's snowy setting exacerbating her survival conditions.
There aren't really any twists or turns to be had, and everything plays out fairly predictably, and quite honestly, it wouldn't work as well without the cast attached to it. Megan Fox has proved with vehicles such as Jennifer's Body that she is more than capable to lead a horror flick with style, and Till Death cements that fact. Her character is pretty badass, and Fox gives us a protagonist that's worth rooting for. On the flip side, the two hitmen-brother actors are great as well. Callan Mulvey in particular cuts an imposing figure as the movies main villain.
The narrative flirts with deeper context here and there but sadly never pulls the trigger. Mulvey's character is a person from Emma's past, having mugged her some years ago. The plot clearly spells out that there was motive behind this, but never explores this aspect, leaving a frustrating and unexplained story thread. The relationship between the brothers is interesting also, and at one point threatens to present a dilemma in who to side with, but again, it never actually goes there, and as such, reeks of a wasted opportunity for a far more interesting story than the one presented.
For what it is though, Till Death is a competent and entertaining enough thriller/horror to add to a spooky season watchlist
There aren't really any twists or turns to be had, and everything plays out fairly predictably, and quite honestly, it wouldn't work as well without the cast attached to it. Megan Fox has proved with vehicles such as Jennifer's Body that she is more than capable to lead a horror flick with style, and Till Death cements that fact. Her character is pretty badass, and Fox gives us a protagonist that's worth rooting for. On the flip side, the two hitmen-brother actors are great as well. Callan Mulvey in particular cuts an imposing figure as the movies main villain.
The narrative flirts with deeper context here and there but sadly never pulls the trigger. Mulvey's character is a person from Emma's past, having mugged her some years ago. The plot clearly spells out that there was motive behind this, but never explores this aspect, leaving a frustrating and unexplained story thread. The relationship between the brothers is interesting also, and at one point threatens to present a dilemma in who to side with, but again, it never actually goes there, and as such, reeks of a wasted opportunity for a far more interesting story than the one presented.
For what it is though, Till Death is a competent and entertaining enough thriller/horror to add to a spooky season watchlist
BankofMarquis (1832 KP) rated Lake Placid (1999) in Movies
Jan 7, 2022
Betty White Steals This Film
I have to admit, I actually saw LAKE PLACID in the movie theaters when it came out in 1999. I am a huge JAWS fan and am a sucker for any film that takes the elements of Jaws (or some of them, anyway) and tries to rip-off that classic film.
And, that is what Lake Placid does (is). It’s “Jaws with a Crocodile”. The residents of Black Lake are being picked off one-by-one by a killer croc and a ragtag group of heroes put aside their differences to save the day.
The “ragtag group” features an a few “B-Listers” (at the time) and one “up-and-comer”. Bill Pullman (fresh off INDEPENDENCE DAY) scores a lead role while Bridget Fonda (beginning to fade from view) is the “femme-fatale” and character actor Oliver Platt (currently on CHICAGO MED) eats the screen as the “eccentric, philanthropist Croc hunter” (I can’t think of a philanthropist croc hunter that isn’t eccentric). It also features a then unknown Brendan Gleeson (a few years before his turn as Mad-Eye Moody in the Harry Potter series) as the Sherriff of the town - the Roy Scheider/Sherriff Brody role from Jaws.
But the character that steals this film is, of course, Betty White as a foul-mouthed resident of the community. Flipping the coin on her wholesome image garnered from her turns on THE GOLDEN GIRLS and THE MARY TYLER MOORE show, Ms. White is - as should be expected - hilarious in her raunchiness.
While this movie is the very definition of “B-Movie” (maybe even “C” flick), it’s worth watching just for Betty White’s turn.
Rest in Peace, Ms. White. And THANKS FOR THE MEMORIES.
Letter Grade on Lake Placid: B (and I’m being generous)
Letter Grade on Betty White: A+
And you can take that to the Bank(ofMarquis)
And, that is what Lake Placid does (is). It’s “Jaws with a Crocodile”. The residents of Black Lake are being picked off one-by-one by a killer croc and a ragtag group of heroes put aside their differences to save the day.
The “ragtag group” features an a few “B-Listers” (at the time) and one “up-and-comer”. Bill Pullman (fresh off INDEPENDENCE DAY) scores a lead role while Bridget Fonda (beginning to fade from view) is the “femme-fatale” and character actor Oliver Platt (currently on CHICAGO MED) eats the screen as the “eccentric, philanthropist Croc hunter” (I can’t think of a philanthropist croc hunter that isn’t eccentric). It also features a then unknown Brendan Gleeson (a few years before his turn as Mad-Eye Moody in the Harry Potter series) as the Sherriff of the town - the Roy Scheider/Sherriff Brody role from Jaws.
But the character that steals this film is, of course, Betty White as a foul-mouthed resident of the community. Flipping the coin on her wholesome image garnered from her turns on THE GOLDEN GIRLS and THE MARY TYLER MOORE show, Ms. White is - as should be expected - hilarious in her raunchiness.
While this movie is the very definition of “B-Movie” (maybe even “C” flick), it’s worth watching just for Betty White’s turn.
Rest in Peace, Ms. White. And THANKS FOR THE MEMORIES.
Letter Grade on Lake Placid: B (and I’m being generous)
Letter Grade on Betty White: A+
And you can take that to the Bank(ofMarquis)
BankofMarquis (1832 KP) rated 65 (2023) in Movies
May 8, 2023
Driver is Heads and Shoulders above this material
Whoever decided to cast Adam Driver as an alien spaceperson (who looks and acts suspiciously like a 21st Century American) who crash-lands on prehistoric Earth and has to battle Dinosaurs equipped with only his alien technology (including his laser-blaster) is a GENIUS for Driver is EXTREMELY watchable in this film - the best thing (by far) in this so-so sci-fi/dinosaur mash-up.
The rest of the movie? Not so much.
Basically Jurassic Park with a spaceman twist, 65 (so named for the spaceman that crash lands on Earth at around 65 million years B.C. - just before the “dinosaur killing” asteroid hits the Earth) tells the tale of said Spaceman, MIlls (Driver) who crashes on Earth and (along with another survivor, Koa played by Ariana Greenblatt) must make their way across unfriendly, hungry Dinosaur territory to their escape ship and get off the planet before the asteroid hits.
You’ve seen the humans vs. dinosaur action before in all of the Jurassic Park films - so there’s nothing new here. Writer/Directors Scott Beck and Bryan Woods put together a fairly standard “man vs. beast” action flick. It felt like that these two were playing with their Jurassic Park and Astronaut toys in their bedroom and this was the adventure they came up with.
The differentiator in this film is the performance of Driver who puts his all into his portrayal of Mills as he (mostly) silently, but professionally, makes his way across hostile territory to gain access to rescue. Driver (who I don’t think has ever given a bad performance) is head and shoulders above the material here and he, alone, is worth spending an hour and a 1/2 of your time on this film.
Roll your eyes at the Dinosaur action, marvel at the Adam Driver performance.
Letter Grade: C+ (Driver “A”, the rest of the film “D”)
6 stars (out of 10) - and that’s being generous - and you can take that to the Bank (ofMarquis)
The rest of the movie? Not so much.
Basically Jurassic Park with a spaceman twist, 65 (so named for the spaceman that crash lands on Earth at around 65 million years B.C. - just before the “dinosaur killing” asteroid hits the Earth) tells the tale of said Spaceman, MIlls (Driver) who crashes on Earth and (along with another survivor, Koa played by Ariana Greenblatt) must make their way across unfriendly, hungry Dinosaur territory to their escape ship and get off the planet before the asteroid hits.
You’ve seen the humans vs. dinosaur action before in all of the Jurassic Park films - so there’s nothing new here. Writer/Directors Scott Beck and Bryan Woods put together a fairly standard “man vs. beast” action flick. It felt like that these two were playing with their Jurassic Park and Astronaut toys in their bedroom and this was the adventure they came up with.
The differentiator in this film is the performance of Driver who puts his all into his portrayal of Mills as he (mostly) silently, but professionally, makes his way across hostile territory to gain access to rescue. Driver (who I don’t think has ever given a bad performance) is head and shoulders above the material here and he, alone, is worth spending an hour and a 1/2 of your time on this film.
Roll your eyes at the Dinosaur action, marvel at the Adam Driver performance.
Letter Grade: C+ (Driver “A”, the rest of the film “D”)
6 stars (out of 10) - and that’s being generous - and you can take that to the Bank (ofMarquis)
BankofMarquis (1832 KP) rated Doctor Sleep (2019) in Movies
Oct 5, 2020
Better Than I Expected
Over the years, there has been "cash grab" sequels thrown out onto an unsuspecting public years after the beloved original film has settled into the warm memories of time. Films like THE TWO JAKES (sequel to CHINATOWN), THE EVENING STAR (sequel to TERMS OF ENDEARMENT) and, most notably, THE GODFATHER III (sequel to the first two, terrific GODFATHER films) all were filmed more than 10 years after the original classic and quickly died at the box office.
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
Thus, I steered very clear of the sequel to the great Stanley Kubrick film THE SHINING (based on the novel by Stephen King). This time it was Ewan MacGregor as a grown up Danny Torrance, otherwise known as DOCTOR SLEEP. True, this one was based on Stephen King's sequel novel, but still, I avoided it.
Well...2020 being 2020...I was searching for something "new" to watch and tripped across this, so thought "what the heck, I'll give it a go"...
And...I was pleasantly surprised - Doctor Sleep is actually a pretty good flick, capturing the flavor of the original while becoming an entity of it's own.
Doctor Sleep tells the tale of an adult Danny Torrance (Ewan MacGregor) the grown-up son of the Jack Nicholson character (Jack Torrance) in THE SHINING. Danny struggles to come to grips with what happened at the Overlook Hotel - and with his ability to "Shine".
As written and directed by Mike Flanagan (GERALD'S GAME), Doctor Sleep serves as a creepy "chase flick" and a homage to The Shining at the same time. Flanagan does a decent job of giving us motivations and meanings to Danny's own personal journey while weaving in a plausible, effective use of the characters and locations of The Shining.
Part of this success rests on the castings of actors to recreate the roles - and feelings - of characters from the original Stanley Kubrick film. Alex Essoe (Wendy Torrance), Carl Lumbly (Dick Halloran) and Henry Thomas - yes the kid from ET - (as "the bartender", who is clearly Jack Torrance) all bring the essence of the previous film's characters to the events while carving out their own versions of the characters. The same can be said for Flanagan's use (re-use?) of the Overlook Hotel locations and stylings. From the patterned carpet to the typewriter in the lobby to the elevators spewing blood to the hole in the bathroom door that the axe went through - all added to the creepy eeriness of "I've been here before".
But, I think Flanagan was more interested in that part of the story/film than the other part, for faring less successfully is Danny's journey. Fault cannot be made of Ewan MacGregor's performance, he is very good, considering the clunky dialogue he is given, and he gives Danny a haunted feeling, simultaneously chasing and running from his past. But Flanagan really skims over this part of the film - why/how Danny becomes the titular "Doctor Sleep" is almost in a "blink and you'll miss it" moment. While I like the pacing of this film, I think it could have used a little more care and feeding on the front end, to help us understand/invest in Danny's journey more.
Also not faring as well as it could have is the bad guys in this film - a group of characters called THE KNOT. Flanagan enlists a "decent enough" group of character actors for this group though, I think, this film pulls it's punches with these villains and it suffers from it. The leader of the group is "Rose The Hat", played by Rebecca Ferguson (THE GIRL ON THE TRAIN) and she is charismatic (as always) and draws you into her world, and her group. She is very seductive in this role - and that is really good. HOWEVER, when it is time for this "spider" to pounce on her prey, she just doesn't have the intimidation and fear factor, so I was never really scared or unnerved by her.
But, as far as sequels go, this one holds up very well and does a very good job of being an homage to the original film while driving it's own story - and characters - along.
Letter Grade: B+
7 1/2 stars (out of 10) and you can take that to the Bank(ofMarquis)
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Bob Mann (459 KP) rated Finding your feet (2018) in Movies
Sep 29, 2021
Foot tapping and Tear Jerking.
There are some films whose trailers really don’t properly represent their contents. The trailer for the new ‘grey-pound’ film “Finding Your Feet” promised a light hearted and witty foray into an elderly dance-club. And, yes, you get some laughs. But it’s very much a bitter sweet comedy, and the bitterness is ladled on by the bucketload leading to more tears than smiles through the majority of the running time.
Sandra (Imelda Staunton, “Pride“) – now Lady Sandra, after her husband’s latest knighthood – is in a predictable, sex-free but reasonably happy marriage to legal beagle Mike (John Sessions, “Denial“, “Florence Foster Jenkins“) when her world is shaken to its core on discovering that Mike has been having a five-year affair with her best friend Pamela (Josie Lawrence). Moving in with her Bohemian sister Bif (Celia Imrie, “Bridget Jones Baby“), she struggles to integrate into her decidedly lower class lifestyle and find common ground with Bif’s dance club friends Charlie (Timothy Spall, “Denial“, “Mr Turner”), Ted (David Hayman) and Jackie (Joanna Lumley, “The Wolf of Wall Street“).
Can Sandra turn her downward spiral around and find love and happiness again? Well, the posters scream “The Feel Good Film of the Year” so you don’t need to be a rocket scientist to know the answer to that! But it’s a bumpy journey for sure.
Getting all the acting honours is Timothy Spall, who is far too good to be buried away in this small British rom com. To watch him do “ordinary bloke doing ordinary things” is an absolute delight. He adds class and distinction to every scene he’s in, especially for those concerned with his truly tragic and upsetting back-story. Running a close second is Celia Imrie who has a wicked smile off to perfection and adds a lot of emotional depth to her performance: and she needs the range, since she too is on a pretty emotional journey through the second half of the film.
John Sessions and Josie Lawrence – old compatriots of course from the original version of TV’s “Whose Line Is It Anyway” – also deliver marvellous cameo performances, as does Phoebe Nicholls (“The Elephant Man”, “Downton Abbey”) as the tennis playing friend Janet.
Less convincing for me was Imelda Staunton, particularly in the first half of the film: for me she never quite pulls off the icy cold emotional wreck of Sandra, but is much better once the thaw has set in.
The film is written by Meg Leonard (in a debut script) and Nick Moorcroft (who did the “St Trinians” scripts). And there are some funny lines in there, although it has to be said that there are not enough of them. The majority of the best ones in fact are in the trailer, never bettered by Joanna Lumley’s zinger…. “My last marriage ended for religious reasons…. he thought he was God and I didn’t”! There’s not much more room for comic lines, since the rest of the script is stuffed with the dramatic outcomes from various flavours of old-age malady. Fortunately I was one of the younger members of the generally grey-haired audience, but for those further up the scale it must have been like staring into the void!
The film will win no awards for choreography, since the dance scenes are gloriously inept and out of sync. But this all rather adds to the charm of the piece.
Directed by Richard Loncraine, director of the equally forgettable Brit-flick “Wimbledon” and the rather more memorable “Brimstone and Treacle”, this is as Douglas Adams would have said “Mostly Harmless”: a film that most over-50’s will find a pleasant way to spend two hours. But go in expecting a drama with comic moments, rather than the hilarious comedy predicted by the trailer, and you will be better prepared.
(I should comment that the rating below is my view: my illustrious wife declared it a triumphant chick-flick and gave it FFFFf).
Sandra (Imelda Staunton, “Pride“) – now Lady Sandra, after her husband’s latest knighthood – is in a predictable, sex-free but reasonably happy marriage to legal beagle Mike (John Sessions, “Denial“, “Florence Foster Jenkins“) when her world is shaken to its core on discovering that Mike has been having a five-year affair with her best friend Pamela (Josie Lawrence). Moving in with her Bohemian sister Bif (Celia Imrie, “Bridget Jones Baby“), she struggles to integrate into her decidedly lower class lifestyle and find common ground with Bif’s dance club friends Charlie (Timothy Spall, “Denial“, “Mr Turner”), Ted (David Hayman) and Jackie (Joanna Lumley, “The Wolf of Wall Street“).
Can Sandra turn her downward spiral around and find love and happiness again? Well, the posters scream “The Feel Good Film of the Year” so you don’t need to be a rocket scientist to know the answer to that! But it’s a bumpy journey for sure.
Getting all the acting honours is Timothy Spall, who is far too good to be buried away in this small British rom com. To watch him do “ordinary bloke doing ordinary things” is an absolute delight. He adds class and distinction to every scene he’s in, especially for those concerned with his truly tragic and upsetting back-story. Running a close second is Celia Imrie who has a wicked smile off to perfection and adds a lot of emotional depth to her performance: and she needs the range, since she too is on a pretty emotional journey through the second half of the film.
John Sessions and Josie Lawrence – old compatriots of course from the original version of TV’s “Whose Line Is It Anyway” – also deliver marvellous cameo performances, as does Phoebe Nicholls (“The Elephant Man”, “Downton Abbey”) as the tennis playing friend Janet.
Less convincing for me was Imelda Staunton, particularly in the first half of the film: for me she never quite pulls off the icy cold emotional wreck of Sandra, but is much better once the thaw has set in.
The film is written by Meg Leonard (in a debut script) and Nick Moorcroft (who did the “St Trinians” scripts). And there are some funny lines in there, although it has to be said that there are not enough of them. The majority of the best ones in fact are in the trailer, never bettered by Joanna Lumley’s zinger…. “My last marriage ended for religious reasons…. he thought he was God and I didn’t”! There’s not much more room for comic lines, since the rest of the script is stuffed with the dramatic outcomes from various flavours of old-age malady. Fortunately I was one of the younger members of the generally grey-haired audience, but for those further up the scale it must have been like staring into the void!
The film will win no awards for choreography, since the dance scenes are gloriously inept and out of sync. But this all rather adds to the charm of the piece.
Directed by Richard Loncraine, director of the equally forgettable Brit-flick “Wimbledon” and the rather more memorable “Brimstone and Treacle”, this is as Douglas Adams would have said “Mostly Harmless”: a film that most over-50’s will find a pleasant way to spend two hours. But go in expecting a drama with comic moments, rather than the hilarious comedy predicted by the trailer, and you will be better prepared.
(I should comment that the rating below is my view: my illustrious wife declared it a triumphant chick-flick and gave it FFFFf).