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Sarah (7800 KP) rated Nobody Sleeps in the Woods Tonight (2020) in Movies
Nov 13, 2020
Condemnable for the dubbing alone
Nobody Sleeps in the Woods Tonight is a Polish horror film about a group of technology dependent youths visiting an offline summer camp who are terrorised by a danger lurking in the woods.
The film follows a small group centred around Zosia (Julia Wieniawa), as they head out from the camp on a 3 day trek into the woods and encounter some very unfriendly locals. I’m afraid that from the very start, there’s nothing about this film that is particularly original. Pretty much every classic slasher horror is noticeably referenced here, from Friday the 13th to The Texas Chainsaw Massacre and everything in between. It even drifts into sci-fi at one point. Some might say this is a homage to these films, but for me it was just a blatant copy. From the hillbilly bad guys in wooden cabins to the use of a machete, it all just felt so unoriginal. There was nothing at all in this that didn’t remind me of another, much better film. And that’s not even taking into account all of the clichéd horror movie tropes that are thrown in throughout - I’ve lost count of the amount of times I’ve seen dismembered deer/wildlife and phone batteries that are conveniently dying to name but a few, and Nobody Sleeps in the Woods tonight can’t seem to avoid these.
Despite this, there are some (very few) positives. The score is surprisingly atmospheric and dramatic, and works so well to build some much needed tension. The practical special effects, at least in the death scenes, are also good and there’s a pretty decent amount of gore. However this is pretty much the only good things I can say about this film. Whilst the death effects might be good, the creature/enemy effects are severely lacking and they look very cheap and second rate. It doesn’t help that their characters are rather silly and have no real purpose other than to kill. And even their murdering appears to be nonsensical and sporadic – for instance in one scene killing a character who’s outside yet completely ignoring those in tents a mere metres away. The youths don’t fare any better when it comes to characterisation either. They are your usual slasher movie group and aside from Zosia none have any real depth or back story, and for the most part they don’t live enough for you to care anyway.
But even considering all of the above, by far the worst crime of this film is the fact that it’s dubbed. Dubbing is one of my personal pet peeves. I cannot abide watching anything where the sound doesn’t sync with actors mouths moving, especially when the dubbing isn’t intended as tongue in cheek. And worse still, Nobody Sleeps in the Woods Tonight features the most cringeworthy dubbing I’ve ever heard, with some very stereotypical American voiceovers that are made worse by the cheesy script that tries to shoehorn in as many geeky pop cultures references that it can find. Within 10 minutes I’d had enough and I do wonder if this film could’ve been much more bearable has it just been subtitled instead.
Dubbing aside, this film is still pretty poor and riddled with so many clichés that you can barely discern any truly original ideas. If you want to watch a horror film like this, you’d be better off watching the classic originals.
The film follows a small group centred around Zosia (Julia Wieniawa), as they head out from the camp on a 3 day trek into the woods and encounter some very unfriendly locals. I’m afraid that from the very start, there’s nothing about this film that is particularly original. Pretty much every classic slasher horror is noticeably referenced here, from Friday the 13th to The Texas Chainsaw Massacre and everything in between. It even drifts into sci-fi at one point. Some might say this is a homage to these films, but for me it was just a blatant copy. From the hillbilly bad guys in wooden cabins to the use of a machete, it all just felt so unoriginal. There was nothing at all in this that didn’t remind me of another, much better film. And that’s not even taking into account all of the clichéd horror movie tropes that are thrown in throughout - I’ve lost count of the amount of times I’ve seen dismembered deer/wildlife and phone batteries that are conveniently dying to name but a few, and Nobody Sleeps in the Woods tonight can’t seem to avoid these.
Despite this, there are some (very few) positives. The score is surprisingly atmospheric and dramatic, and works so well to build some much needed tension. The practical special effects, at least in the death scenes, are also good and there’s a pretty decent amount of gore. However this is pretty much the only good things I can say about this film. Whilst the death effects might be good, the creature/enemy effects are severely lacking and they look very cheap and second rate. It doesn’t help that their characters are rather silly and have no real purpose other than to kill. And even their murdering appears to be nonsensical and sporadic – for instance in one scene killing a character who’s outside yet completely ignoring those in tents a mere metres away. The youths don’t fare any better when it comes to characterisation either. They are your usual slasher movie group and aside from Zosia none have any real depth or back story, and for the most part they don’t live enough for you to care anyway.
But even considering all of the above, by far the worst crime of this film is the fact that it’s dubbed. Dubbing is one of my personal pet peeves. I cannot abide watching anything where the sound doesn’t sync with actors mouths moving, especially when the dubbing isn’t intended as tongue in cheek. And worse still, Nobody Sleeps in the Woods Tonight features the most cringeworthy dubbing I’ve ever heard, with some very stereotypical American voiceovers that are made worse by the cheesy script that tries to shoehorn in as many geeky pop cultures references that it can find. Within 10 minutes I’d had enough and I do wonder if this film could’ve been much more bearable has it just been subtitled instead.
Dubbing aside, this film is still pretty poor and riddled with so many clichés that you can barely discern any truly original ideas. If you want to watch a horror film like this, you’d be better off watching the classic originals.
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Lee (2222 KP) rated Get Out (2017) in Movies
Jul 26, 2017
Amazingly, I managed to head into Get Out having not even seen the trailer. It had been appearing more and more frequently on my news feeds recently, usually accompanied by a lot of positive buzz, and usually featuring an image of lead character Chris, wide eyed and terrified, with a tear running down his cheek (note that I’ve continued this trend with my review!). Described as a racial satire/horror it just didn’t really feature high on my watch list, but I booked a ticket to go see it, wanting to see what all the buzz was about. I’m kind of glad that I went in relatively blind as to what to expect though, as I was absolutely blown away by it.
Daniel Kaluuya plays Chris, a young black man dating a white girl called Rose (Allison Williams). He’s preparing to go and meet her parents for the first time but he’s a bit unsure as to what they’re going to think about him, despite Rose assuring him that he’s got nothing to worry about. When they arrive at the huge house out in the country, her parents really are fine with Chris. And they take every opportunity during their conversations to be positive about race and to assure Chris that they’re fine with him too, to the point where Chris (and us) begin to feel a little bit uneasy. This unease isn’t helped by the fact that there are two black servants in the house, neither of whom have very much to say and both acting very strangely. At night, the housekeeper wanders quietly around the house while the groundsman sprints around outside in the dark!
Paranoia and tension continues when a large group of family friends arrives for a party and they all seem very keen to get to know Chris and bond with him. One of the guests even has a black ‘companion’ who is also acting strangely. Despite the assurances from all, things definitely are not OK…
Of the little I read about Get Out beforehand, one of the reviews that stuck with me most described it a little bit like From Dusk Til Dawn in the way that everything suddenly all goes to shit in a hugely enjoyable and unexpected twist. There are definitely no vampires or anything similar in this movie, but I felt that it was a pretty good comparison. The movie spends a long time putting you on the edge of your seat, building up the tension, providing plenty of food for thought on modern day racism and adding the odd bit of welcome comedy relief from Chris’ friend on the end of the phone trying to support him. It’s all hugely enjoyable and even though you can guess pretty early on what’s going on, it’s all still hugely satisfying when the truth finally is revealed and the violence and action take over.
Daniel Kaluuya plays Chris, a young black man dating a white girl called Rose (Allison Williams). He’s preparing to go and meet her parents for the first time but he’s a bit unsure as to what they’re going to think about him, despite Rose assuring him that he’s got nothing to worry about. When they arrive at the huge house out in the country, her parents really are fine with Chris. And they take every opportunity during their conversations to be positive about race and to assure Chris that they’re fine with him too, to the point where Chris (and us) begin to feel a little bit uneasy. This unease isn’t helped by the fact that there are two black servants in the house, neither of whom have very much to say and both acting very strangely. At night, the housekeeper wanders quietly around the house while the groundsman sprints around outside in the dark!
Paranoia and tension continues when a large group of family friends arrives for a party and they all seem very keen to get to know Chris and bond with him. One of the guests even has a black ‘companion’ who is also acting strangely. Despite the assurances from all, things definitely are not OK…
Of the little I read about Get Out beforehand, one of the reviews that stuck with me most described it a little bit like From Dusk Til Dawn in the way that everything suddenly all goes to shit in a hugely enjoyable and unexpected twist. There are definitely no vampires or anything similar in this movie, but I felt that it was a pretty good comparison. The movie spends a long time putting you on the edge of your seat, building up the tension, providing plenty of food for thought on modern day racism and adding the odd bit of welcome comedy relief from Chris’ friend on the end of the phone trying to support him. It’s all hugely enjoyable and even though you can guess pretty early on what’s going on, it’s all still hugely satisfying when the truth finally is revealed and the violence and action take over.
Veronica Pena (690 KP) rated Rope (1948) in Movies
Mar 12, 2020
did i speak too soon?
Contains spoilers, click to show
If you've read my other reviews, you know that I'm currently in a Hitchcock film class. I've been dreading watching his films because of the ones I've seen, with the exception of Psycho, have been the same story told in different ways. I was equally as dreadful when it came to watching this film. However, I was pleasantly surprised.
In Psycho, while we saw a serial killer, it was almost as if Norman had no choice because he'd been overtaken, so to speak, by Norma Bates. Norman knew what had been done, what his mother had done, and he cleaned up after her, defended her, took care of her. In Shadow of a Doubt, while Uncle Charlie was also a killer, Hitchcock played with the likable villain scenario that we talked about last week. He was this dapper, well-liked, well-respected man that seemed like he could never be capable of the things he was accused. And even when he did die, only little Charly and the detective really knew the truth of who Uncle Charlie was. In Sabotage, we saw murder but it wasn't purposeful. The bomb that was meant to explode, wasn't meant to explode where it did - on a public bus, killing not only the nephew but several strangers and a puppy.
Rope is glaringly different in comparison. We see Brandon who is ecstatic, almost euphoric about what he and Phillip had done. He almost gets off on the idea that they just killed a man, a friend of theirs, and invited that man's family, friends, and fiance over for a party while that man's dead body lying there, unbeknownst to the guests. Brandon was excited by that. In contrast, Phillip is paranoid, drinking rapidly and in excess trying to calm himself down, but really only making himself more suspicious. The nuance and the contrast of Brandon and Phillip's characters are different than anything we've seen from Hitchcock thus far, but even further than that, we see Rupert come in and kind of save the day. He puts the pieces together, observant of both Brandon and Phillip's awkwardness and behavior throughout the party, then noticing the hat and the rope, he comes back and realizes what they have done. Instead of taking vengeance into his own hands, something that we saw in Sabotage, he fires 3 shots out of the window, causing passersby and neighbors to call the police. Rupert than sits next to the chest that holds David's body, almost protecting him, while he waits for the authorities to arrive for Brandon and Phillip.
This film, more than any other one besides Psycho, has been my favorite to watch and the one that kept me drawn in. This film does not fit the original narrative I've held. It's in a completely different game entirely.
In Psycho, while we saw a serial killer, it was almost as if Norman had no choice because he'd been overtaken, so to speak, by Norma Bates. Norman knew what had been done, what his mother had done, and he cleaned up after her, defended her, took care of her. In Shadow of a Doubt, while Uncle Charlie was also a killer, Hitchcock played with the likable villain scenario that we talked about last week. He was this dapper, well-liked, well-respected man that seemed like he could never be capable of the things he was accused. And even when he did die, only little Charly and the detective really knew the truth of who Uncle Charlie was. In Sabotage, we saw murder but it wasn't purposeful. The bomb that was meant to explode, wasn't meant to explode where it did - on a public bus, killing not only the nephew but several strangers and a puppy.
Rope is glaringly different in comparison. We see Brandon who is ecstatic, almost euphoric about what he and Phillip had done. He almost gets off on the idea that they just killed a man, a friend of theirs, and invited that man's family, friends, and fiance over for a party while that man's dead body lying there, unbeknownst to the guests. Brandon was excited by that. In contrast, Phillip is paranoid, drinking rapidly and in excess trying to calm himself down, but really only making himself more suspicious. The nuance and the contrast of Brandon and Phillip's characters are different than anything we've seen from Hitchcock thus far, but even further than that, we see Rupert come in and kind of save the day. He puts the pieces together, observant of both Brandon and Phillip's awkwardness and behavior throughout the party, then noticing the hat and the rope, he comes back and realizes what they have done. Instead of taking vengeance into his own hands, something that we saw in Sabotage, he fires 3 shots out of the window, causing passersby and neighbors to call the police. Rupert than sits next to the chest that holds David's body, almost protecting him, while he waits for the authorities to arrive for Brandon and Phillip.
This film, more than any other one besides Psycho, has been my favorite to watch and the one that kept me drawn in. This film does not fit the original narrative I've held. It's in a completely different game entirely.
JT (287 KP) rated The Intouchables (2012) in Movies
Mar 17, 2020
Beautifully acted (2 more)
Well-directed
Heart warming
A foreign film that everyone should watch
I don’t think there has been one foreign film that I have watched that I have not liked or one that has not moved me in some way. It’s good to be able to pull away from mainstream Hollywood films and delve into another language.
This time I went for a heartwarming tale about a French aristocrat and a man from the projects who form an unlikely bond. Driss (Omar Sy) struggles in life, he lives at home with a large extended family and does his best to make ends meet.
Looking to show the benefits office that he is trying to find work so he can claim is not the easiest way to make money. On the other side, Philippe (François Cluzet) is dependent on everyone in his life, since a paragliding accident left him paralyzed from the neck down.
During an interview process to find his next carer in which Driss applies for the pair seemingly hit it off, and so begins a wonderful and awe-inspiring story. Driss who has never really needed to take responsibility after being pushed out on the street by his Aunt finds a new companion in Philippe.
Philippe too has found someone to share a smile with again, a laugh and most importantly someone that does not pity him which he feels is the most important. There is no particular story in this to adhere to, it’s about the growing relationship between two different people from opposite ends of the financial spectrum and how important they realise they are to each other.
Driss has to come to grips with the lifestyle that Philippe leads, how he has to be on call at every hour of the day, but living inside the large Parisian mansion he gets a taste of what his life is like to be wealthy and to seemingly have it all.
When Driss discovers that Philippe has an epistolary relationship with a woman he forces him to speak to her on the phone as opposed to the continual writing of letters, even going so far as to set him up on a date. Dris and Philippe force each other to step out of their comfort zones and to realize there is so much more in life.
The film’s serious nature is broken in parts by some beautiful light-hearted comedy, Driss realizing what the rubber gloves are for, and that foot cream is not shampoo. It’s been a while since I genuinely laughed out loud at any film.
When Philippe and Driss decide it is time to part ways there is a deflating sense of sadness that their relationship is over, but both men soon discover that they need each other in their life more than ever. Based on a true story it’s a brilliantly written and well-directed film that tugs at the heartstrings but will have you smiling all the way through.
This time I went for a heartwarming tale about a French aristocrat and a man from the projects who form an unlikely bond. Driss (Omar Sy) struggles in life, he lives at home with a large extended family and does his best to make ends meet.
Looking to show the benefits office that he is trying to find work so he can claim is not the easiest way to make money. On the other side, Philippe (François Cluzet) is dependent on everyone in his life, since a paragliding accident left him paralyzed from the neck down.
During an interview process to find his next carer in which Driss applies for the pair seemingly hit it off, and so begins a wonderful and awe-inspiring story. Driss who has never really needed to take responsibility after being pushed out on the street by his Aunt finds a new companion in Philippe.
Philippe too has found someone to share a smile with again, a laugh and most importantly someone that does not pity him which he feels is the most important. There is no particular story in this to adhere to, it’s about the growing relationship between two different people from opposite ends of the financial spectrum and how important they realise they are to each other.
Driss has to come to grips with the lifestyle that Philippe leads, how he has to be on call at every hour of the day, but living inside the large Parisian mansion he gets a taste of what his life is like to be wealthy and to seemingly have it all.
When Driss discovers that Philippe has an epistolary relationship with a woman he forces him to speak to her on the phone as opposed to the continual writing of letters, even going so far as to set him up on a date. Dris and Philippe force each other to step out of their comfort zones and to realize there is so much more in life.
The film’s serious nature is broken in parts by some beautiful light-hearted comedy, Driss realizing what the rubber gloves are for, and that foot cream is not shampoo. It’s been a while since I genuinely laughed out loud at any film.
When Philippe and Driss decide it is time to part ways there is a deflating sense of sadness that their relationship is over, but both men soon discover that they need each other in their life more than ever. Based on a true story it’s a brilliantly written and well-directed film that tugs at the heartstrings but will have you smiling all the way through.
Neon's Nerd Nexus (360 KP) rated The Call Of The Wild (2020) in Movies
Feb 22, 2020 (Updated Feb 23, 2020)
A Sheep In Wolf's Clothing
Call Of The Wild is such a lovely heartfelt movie that will leave everyone that goes to see it with that warm tingly feeling inside their chest and a nice big smile on thier face. Ive seen this film is getting a lot of hate because of its over reliance on cgi animals and while I will admit I found it very distracting to start with after 10 minutes I became accustom and think the movie is much better for using it. Why you ask? well the movie to me is obviously aimed at children and the over all feel of it to me was very much like a classic Disney animated cartoon. Let me explain, theres just something so lovely, peaceful and magical about the whole thing and the way its structured, how exaggerated the characters are, the world it builds and the story. See they all just all come together to give you those same feelings you had when you watched a fairytale like beauty and the beast for the first time. Having the dog be cgi lets him have more cartoonish/exaggerated animations and a way more expressive face really helps us to relate to him better, clearly see how hes feeling and to add to this constant sense of warmth/magic thats present throughout. Theres also a fantastic sense of adventure here and the film uses stunning locations to constantly wow us and keep us in this picturesque perfect dream or tranquil fantasy kind of state. Harrison ford is splendid here playing a lonely man whos almost given up hope of being truly happy until Buck comes along. His perfomance is so touching and you can clearly hear in his Blade Runner style narrations the sadness and pain in his heart which immediately helps you to feel sympathy towards him. Bucks story is equally as sad too, he longs to be part of a pack/family of his own and to one day become a leader answering to no one but himself. His motivations are shown in the form of a powerful and strong black wolf that keeps his confidence up and his determination strong and theres so many messages about never giving up, pushing forward and trusting in your destiny too that its hard not to become fully engrossed in his journey. It may be a simple tale but its an absolute joy to watch and its motivational themes are guaranteed to make anyone think positively about thier own life while watching. I also can not go without mentioning Dan Stevens, boy is this guy talented. His acting here is devilishly cartoonish, over the top wicked and had me grinning constantly in pure delight. Call Of The Wild is an all out beautiful, fun, adorable and exciting adventure for all the family to enjoy and I can not wait till it comes out to buy on 4k.
Charlie Cobra Reviews (1840 KP) rated The Boys in TV
Jul 7, 2020
A Gritty Superhero Drama With Equal Parts Dark Comedy, Blood And Violence
The Boys is a 2019 black comedy/action/superhero/drama web tv series developed by Eric Kripke for Amazon. It was produced by Sony Pictures Television, Amazon Studios, Kripke Enterprises, Point Grey Pictures, Original Film, Kickstart Entertainment and KFL Knightsky Productions. Executive producters on the show include Erick Kripke, Seth Rogen, Evan Goldberg, James Weaver, Neal H. Moritz, Pavun Shetty, Ori Marmur, Dan Trachtenberg, Ken. F. Levin and Jason Netter. The series stars actors Karl Urban, Jack Quaid, Anthony Starr, Erin Moriarty, Dominique McElligot and Jessie T. Usher.
Hugh "Hughie" Campbell (Jack Quaid) is a regular guy living in a city where superpowered people are recognized as heroes by the general public and owned by a powerful corporation Vought International, which markets and monetizes them. Outside of their heroic personas, these heroes are arrogant and corrupt, none more so than the Seven, Vought's premier superhero team. After his girlfriend is killed by A-Train (Jessie T. Usher), one of the Seven, Hughie is sought out by Billy Butcher (Karl Urban), a man who despises all superpowered people, and whose goal is to "spank the bastards when they get out of line".
This show is awesome. I was blown away by how much I liked it and binged watched it in one day. It reminded me of Watchmen a little bit in how it was a darker version of a superhero world. I really liked how it balanced the dark comedy with the violence and pacing of the plot. It was incredibly violent though, with lots of blood and gore. The acting was really good too with the actors being believable in their roles. I enjoyed the character development from several of the characters like Hughie and Starlight. Even the Deep, who I disliked was able to make me feel sorry for him in a couple of parts. The special effects were pretty top notch and I hardly noticed anything I didn't think fit or stuck out in a wrong way. The twists in the plot as the story progressed really kept me into it. It also had a lot of emotional scenes that I didn't think it would. There were a couple of things that bothered me like when a character acted out of character or did something that I didn't understand their motivations, and also the weird relationship between Homelander and Madelynn Stillwell. The latter of which you have more understanding towards the end. The only thing that really disappointed me was that there were only 8 episodes for the season. I almost gave this show a 9 but like I said there were a couple of things that I didn't like with it, still I give this show a 8/10. It also gets my "Must See Seal Of Approval". You really got to check this show out if you haven't seen it.
Hugh "Hughie" Campbell (Jack Quaid) is a regular guy living in a city where superpowered people are recognized as heroes by the general public and owned by a powerful corporation Vought International, which markets and monetizes them. Outside of their heroic personas, these heroes are arrogant and corrupt, none more so than the Seven, Vought's premier superhero team. After his girlfriend is killed by A-Train (Jessie T. Usher), one of the Seven, Hughie is sought out by Billy Butcher (Karl Urban), a man who despises all superpowered people, and whose goal is to "spank the bastards when they get out of line".
This show is awesome. I was blown away by how much I liked it and binged watched it in one day. It reminded me of Watchmen a little bit in how it was a darker version of a superhero world. I really liked how it balanced the dark comedy with the violence and pacing of the plot. It was incredibly violent though, with lots of blood and gore. The acting was really good too with the actors being believable in their roles. I enjoyed the character development from several of the characters like Hughie and Starlight. Even the Deep, who I disliked was able to make me feel sorry for him in a couple of parts. The special effects were pretty top notch and I hardly noticed anything I didn't think fit or stuck out in a wrong way. The twists in the plot as the story progressed really kept me into it. It also had a lot of emotional scenes that I didn't think it would. There were a couple of things that bothered me like when a character acted out of character or did something that I didn't understand their motivations, and also the weird relationship between Homelander and Madelynn Stillwell. The latter of which you have more understanding towards the end. The only thing that really disappointed me was that there were only 8 episodes for the season. I almost gave this show a 9 but like I said there were a couple of things that I didn't like with it, still I give this show a 8/10. It also gets my "Must See Seal Of Approval". You really got to check this show out if you haven't seen it.
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Episode Two now available, the final chapter in this award winning adventure. The Silent Age takes...
Kirk Bage (1775 KP) rated Stan & Ollie (2018) in Movies
Jan 28, 2021
My relationship with Laurel & Hardy is a tentative one. I do enjoy their short films, full of ingenuity and genuinely funny moments. But, they’d be down the list a bit for me on the greatest black and white comedy stars – Chaplin, Keaton, Lloyd, then the Marx Brothers maybe, then the slapstick duo next, maybe. It’s not that I don’t think they are great! They are, they definitely are. I just can’t sit down and take to much of them at once. Maybe because their schtick is very stagey, vaudevillian even, rather than cinematic. And that is because they were primary stage actors and clowns. Not necessarily in that order.
So, my anticipation of a movie about them in 2018 was not huge. I was happy to wait, and it was consigned deep down the watchlist for a while. Until one Sunday evening in October, when it suddenly felt like exactly what I wanted to see that day – a nice, calm biopic that probably had a few laughs and a soppy ending. And that is pretty much what this is. Except that it also has two very very impressive performances from the eponymous leads, the consumately talented John C. Reilly and Steve Coogan.
When I say impressive I mean that at times it feels like you are magically watching the real Oliver Hardy and Stan Laurel. So detailed and well observed are their characterisations that nothing whatsoever (other than maybe the makeup on Reilly’s double chin) strikes you as false. Which helps you invest in their story entirely; told in professional if unspectacular style by Jon S. Baird, who demonstrates an understanding of the people, if not a full understanding of how to make a scene truly fly.
The story here is not a full biopic, but rather a snapshot of the end of their careers, when, amazingly, they embarked on a tour of UK theatres in an attempt to keep working once their film career had lost its shine and popularity. What we see are two older men, once treated as superstars, who are now brought down to earth by all things fading, including their youth. They are bitter and argumentative with each other, and their long suffering wives (played satisfyingly by Shirley Henderson and Nina Arianda). Long stewed resentments come to the surface and the smiles of the clowns are seen at their lowest ebb as things begin to fall apart.
What rings true are the observations of a love / hate friendship that has lasted a full lifetime, and how that affects a working relationship and a public legacy. Jeff Pope, who also worked with Coogan on Philomena, gives us a stoic but often deeply meaningful screenplay here, that isn’t bothered by showing off, in favour of colouring the relationship accurately, which is commendably, and feels quite anti-Hollywood and a bit more British.
The physical gags and set-pieces are also beautifully staged, and look gorgeous, evoking the period superbly. My face was almost permanently smiling, although I can’t remember laughing out loud once. And that is what this film feels like, ultimately – a nice, gentle, Sunday afternoon drive into the past. Your grandparents will love it! Personally, I felt it was fine and dandy, but lacked a spark or two to make it properly come to life.
Watch this if you enjoy great acting that doesn’t need to wave its arms around to get attention. Both Reilly and Coogan are extraordinary! Interestingly, the American was nominated for a Golden Globe over there, and the Brit was nominated for a Bafta over here. Neither won, but they were never going to, as this production is almost embarrassed to announce itself as being good. It is good. Just not amazing. Give it a go when a nice cosy, sleepy mood takes you one day.
So, my anticipation of a movie about them in 2018 was not huge. I was happy to wait, and it was consigned deep down the watchlist for a while. Until one Sunday evening in October, when it suddenly felt like exactly what I wanted to see that day – a nice, calm biopic that probably had a few laughs and a soppy ending. And that is pretty much what this is. Except that it also has two very very impressive performances from the eponymous leads, the consumately talented John C. Reilly and Steve Coogan.
When I say impressive I mean that at times it feels like you are magically watching the real Oliver Hardy and Stan Laurel. So detailed and well observed are their characterisations that nothing whatsoever (other than maybe the makeup on Reilly’s double chin) strikes you as false. Which helps you invest in their story entirely; told in professional if unspectacular style by Jon S. Baird, who demonstrates an understanding of the people, if not a full understanding of how to make a scene truly fly.
The story here is not a full biopic, but rather a snapshot of the end of their careers, when, amazingly, they embarked on a tour of UK theatres in an attempt to keep working once their film career had lost its shine and popularity. What we see are two older men, once treated as superstars, who are now brought down to earth by all things fading, including their youth. They are bitter and argumentative with each other, and their long suffering wives (played satisfyingly by Shirley Henderson and Nina Arianda). Long stewed resentments come to the surface and the smiles of the clowns are seen at their lowest ebb as things begin to fall apart.
What rings true are the observations of a love / hate friendship that has lasted a full lifetime, and how that affects a working relationship and a public legacy. Jeff Pope, who also worked with Coogan on Philomena, gives us a stoic but often deeply meaningful screenplay here, that isn’t bothered by showing off, in favour of colouring the relationship accurately, which is commendably, and feels quite anti-Hollywood and a bit more British.
The physical gags and set-pieces are also beautifully staged, and look gorgeous, evoking the period superbly. My face was almost permanently smiling, although I can’t remember laughing out loud once. And that is what this film feels like, ultimately – a nice, gentle, Sunday afternoon drive into the past. Your grandparents will love it! Personally, I felt it was fine and dandy, but lacked a spark or two to make it properly come to life.
Watch this if you enjoy great acting that doesn’t need to wave its arms around to get attention. Both Reilly and Coogan are extraordinary! Interestingly, the American was nominated for a Golden Globe over there, and the Brit was nominated for a Bafta over here. Neither won, but they were never going to, as this production is almost embarrassed to announce itself as being good. It is good. Just not amazing. Give it a go when a nice cosy, sleepy mood takes you one day.
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Baganda * One who loves you, warns you. Ethiopian * Evil enters like a splinter and...
LeftSideCut (3776 KP) Nov 15, 2020
Sarah (7800 KP) Nov 16, 2020