WONKA (2023)

December 15, 2023

Greetings again from the darkness. It appears as though I’m one of the few early viewers who walked away without having been beguiled or enraptured with this musical prequel to Roald Dahl’s 1964 story, “Charlie and the Chocolate Factory”. Full disclosure requires me to admit that I actually found it a bit dull, and that’s mostly due to the lead performance by Timothy Chalamet. I understand that he’s the hottest young actor working today, and brings along an entire fan base, but for me, Willy Wonka should have a twinkle in his eye, a spring in his step, and enough charm to draw folks in … even at a younger age.

Writer-director Paul King and co-writer Simon Farnaby collaborated on the thoroughly entertaining PADDINGTON 2 (2017) and are back at it in this third film from Dahl’s classic children story. Most recently, there was Johnny Depp in Tim Burton’s CHARLIE AND THE CHOCOLATE FACTORY (2005), and it’s been more than 50 years since Gene Wilder bounded between charming and menacing in Mel Stuart’s WILLY WONKA & THE CHOCOLATE FACTORY (1971). King and Farnaby deliver a musical origin story which allows for a much nicer (or should it be sweeter) Willy Wonka, and instead sprinkles the menace on a few supporting characters, ensuring some dark themes are present.

A ”deal” with Willy’s mother (Sally Hawkins) has the illiterate Wonka arriving in town with only a few coins in his pocket, and a dream to build his chocolate factory. His innocence and naivety soon leave him penniless and contracted into indentured servitude, along with some others, at a shady laundry establishment run by the dentally challenged Mrs Scrubbitt (Oscar winner Olivia Colman) and her baritone behemoth assistant Bleacher (Tom Davis). Willy bonds with the others being held captive, including young orphan Noodle (Calah Lane), who somehow holds the same optimistic outlook as her new friend. Willy soon discovers that he has landed in the town with a chocolate cartel led by Slugworth (Paterson Joseph), Prodnose (Matt Lucas), and Fickelgruber (Mathew Baynton), the local chocolatiers who bribe the Police Chief (Keegan-Michael Key) with none other than … chocolate, in order to keep the new kid from selling his superior goodies.

Willy has even more challenges to deal with, including a knee-high, orange-faced Oompa-Loompa (Hugh Grant), who seeks restitution by stealing from Willy Wonka while he sleeps. Grant’s Oompa-Loompa is a definite highlight here (just as he was in PADDINGTON 2), especially during his song. The other familiar song in the film is “Pure Imagination”, though none of the new songs by Neil Hannon are particular catchy or memorable.

In addition to Grant’s sarcastic Oompa-Loompa, another highlight is certainly Nathan Crowley’s Production Design, ranging from Scrubbitt’s grungy basement to the picturesque town square and ultimately, the chocolate store sequence. The decision to have the young, idealistic Willy overflowing with optimism and lacking the grumpiness and menace of the grown Wonka makes sense for an origin story … I simply didn’t find it as magical, as entertaining, or as interesting.

Opens in theaters nationwide on December 15, 2023

WATCH THE TRAILER

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Posted by David Ferguson

THE LOST KING (2023)

March 23, 2023

Greetings again from the darkness. Obsession often gets a bad rap. Sure, being obsessed with another person to the point of stalking is not just bad, but illegal. However, most hobbies are a form of obsession … you know, like watching movies! OK, that was a self-serving (weak) attempt at making a point, although obsession can lead to innovation and discovery. In fact, if an obsession does turn into something productive or exciting, it is often re-labeled as commitment. That’s pretty much the moral of the story when it comes to Phillipa Langley.

Ms. Langley wrote the 2013 book, “The Search for Richard III”, the basis for this screenplay by Steve Coogan and Jeff Cope, and this film by director Stephen Frears … all three whom collaborated on the Oscar nominated PHILOMENA (2013). Based on the true story, the always terrific Sally Hawkins stars as Phillipa Langley. Ageism has compromised Ms. Langley’s job, as has her Chronic Fatigue Syndrome (CFS), medically known as Myalgic Encephalomyelitis (ME). But Phillipa is no victim, and it’s a stage production of Shakespeare’s “Richard III” that sets her off on deep research into the life and death and after-death stories of the former and often disrespected King.

Shakespeare’s play is referred to as “historical”, but it’s Phillipa who reads all the books and attends the lectures, and even joins the Richard III Society. She quickly realizes many of the theories about the malformed usurper and his character and actions are not correct. She sets her mind to calculating his final resting spot; meaning she’s certain his corpse was not dumped unceremoniously into the river.

An interesting and entertaining aspect of the film is that Richard III (Harry Lloyd) “haunts” or follows Phillipa during her research. She sees him and talks to him, adding a new dimension to her obsessive behavior and the “feelings” she often possesses. After initial skepticism, Phillipa’s ex-husband John (played by co-writer Steve Coogan) begins to support her quest, as do their young sons. She searches not just for a body supposedly buried in the 15th century, she also searches for funding and partnerships. The city of Leicester offers to assist in cutting red tape, but funding is a bit more challenging, though she finally finds a supporter in archaeologist Richard Buckley (Mark Addy) who understands how to work the University grant system.

As an amateur historian-researcher-sleuth, Phillipa proves to be a stronger person than even she thinks herself to be. What unfolds for her is a textbook example of power plays and glory hogs as those who had once laughed at her theories, began to take credit for the accomplishment and bask in the publicity. Credit in the academic world is often more valued than knowledge or integrity, and yet Phillipa’s sense of accomplishment did ultimately lead to the Queen awarding her MBE (Member of the Most Excellent Order of the British Empire).

Director Frears has had a prestigious career with films including: THE QUEEN (2008), HIGH FIDELITY (2000), THE GRIFTERS (1990), and DANGEROUS LIASONS (1988). And Sally Hawkins consistently brings a realism and likability to her roles to the point that we simply believe her every move. Here she portrays a woman whose search for Richard allowed her to find herself. We will never view that “R” in a reserved car park the same way again.

Opens in theaters March 24, 2023

WATCH THE TRAILER

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Posted by David Ferguson

THE PHANTOM OF THE OPEN (2022)

June 16, 2022

Greetings again from the darkness. Scott Farnaby co-wrote the book with Scott Murray and then adapted that book into the screenplay directed here by Craig Roberts (ETERNAL BEAUTY, 2019). Mr. Farnaby also wrote the excellent screenplay for PADDINGTON 2 (2017), as well as for the upcoming Disney version of PINOCCHIO. Director Roberts is also known for his acting, taking the lead in the underrated SUBMARINE (2010).

We are informed that this is based on the true story of Maurice Flitcroft, a name you likely don’t recognize. Flitcroft (played here by Oscar winner Mark Rylance, BRIDGE OF SPIES) is known for posting the highest score in history at the 1976 British Open. He shot 121. It was the first round of golf he ever played. Now if you wonder how that could happen, the filmmakers are happy to explain. We meet Flitcroft as an unassuming crane operator at the shipyard in Barrow-in-Furness, a workplace he describes as “going in on your feet, and out in a box.” This is also where he meets and subsequently marries an unassuming secretary, and single mom, named Jean (played by the always great Sally Hawkins). The two marry and have twin sons to join Jean’s son, Michael.

There is really no need to dig in deep here as it’s a light-hearted, dry comedy based on an accidental celebrity who gained folk hero status over pursuing his dream … in a clueless and talentless manner. The big question remains: was Flitcroft a naïve man whose dream was inspired by watching a few holes of golf on TV, or was he a sly huckster who took a bit of enjoyment in sticking it to the system? Rylance gives the least subtle performance of his career as he dons a bucket hat and some protruding false teeth to create an exaggerated overbite that is as much of his character as the quirky facial expressions and down-to-earth philosophy he spews: “Practice is the road to perfection.”

Christian Lees and Jonah Lees appear as Maurice’s and Jean’s disco-dancing twins (and sometimes caddy), while Jake Davis stars as Michael, their more career-minded son. It’s an under-utilized Rhys Ifans who takes on the main villain role as the director of the British Open, and the man responsible for exposing and banning Flitcroft. Ash Tandon plays Lloyd Donovan, the journalist who sniffs out the Flitcroft story and actually follows through (like journalists once did) … even ten years later when the Flitcroft family is invited to the U.S. for the annual Maurice Flitcroft tournament, where the high score wins.

Isobel Waller-Bridge (EMMA., big sister to Phoebe of “Fleabag” fame) composed the score, and we do get archival footage of Maurice and family over the end credits. Perhaps EDDIE THE EAGLE (2015) is the best comparison for this film, as Flitcroft bore the label, “the worst golfer in the world” … something he vehemently denied. Maurice did manage to inspire others to follow their dreams, and his six sugars in tea may correspond to the level of saccharine the movie develops as it strives to be this year’s feel-good story – and we all know we need one.

Opens in theaters on June 17, 2022

WATCH THE TRAILER

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Posted by David Ferguson

SPENCER (2021)

December 30, 2021

Greetings again from the darkness. “A fable of a true tragedy.” Such is the cautionary sub-heading that director Pablo Larrain begins his latest film. As in his 2016 film, JACKIE, the director turns his lens to an icon of which both too much and too little is known. The screenplay is written by Steven Knight (DIRTY PRETTY THINGS, 2002), and it takes place in the early 1990’s not long before the official marital break of the Prince and Princess of Wales. Much of this movie occurs in the muddled mind of Lady Diana through surreal dream sequences and imagined internal mental imagery.

You may find the holidays to be a stressful time, but what we see in Diana are the results of unrelenting pressures: media, royal family, a husband’s not-so-secret relationship with another woman, and yes, the somewhat absurd Christmas traditions of the institution into which she married. Kristen Stewart plays Diana, and we first see her lost on the back country roads trying to drive herself to Sandringham Estate, the site of the festivities. Arriving late (as she does throughout the 3 days covered here), Diana is confronted by Major Gregory (Timothy Spall), a military man hired by the royal family to keep the media at bay and to ‘spy’ and report on Diana’s every move … including the traditional holiday “weigh-in”, a particularly discomforting event for the Princess with an eating disorder.

It seems the only ones happy to see her are the kids: William (Jack Nielen) and Harry (Freddie Spry). Their relationship is much how we have imagined – lots of mommy time with some royal lessons thrown in for good measure. A book on her life leads to Diana’s encounters with the ghost of Anne Boleyn, the second wife of King Henry VIII, whose path is one Di would prefer to avoid. Her only confidant is her dresser Maggie (Sally Hawkins), the lone adult she can trust with actual thoughts and conversation. We quickly realize that, regardless of the size of the castle, Diana feels very much as if she has been caged by her situation.

Her emotional pain and anguish seems to multiply by the minute, right down to being forced to wear the pearl necklace – identical to the one Charles (Jack Farthing) also gave Camilla. Grasping for freedom, Diana tries to explore her nearby childhood home, now a relic of the past. The coat removed from a dilapidated scarecrow is yet another attempt for Diana to escape back to her simpler and happier life, and of course, we watch this knowing how her story ends.

The head chef, Darren McGrady (a terrific Sean Harris) is one of the few who holds a soft spot of empathy for the Princess, but her paranoia is only enhanced by such things as the sign in the kitchen that states, “They can hear you”, and a reminder from Maggie, “Everyone here hears everything.” Cinematographer Claire Methon complements the surreal feel with matching camera work, and Jonny Greenwood (PHANTOM THREAD, 2017) delivers one of his most unique and distinctive scores – both matching the oddity of the film and the captivating performance of Kristen Stewart. More psychodrama than biopic, director Larrain’s film is both interpretative and a bit sad.

available VOD (Amazon)

WATCH THE TRAILER

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Posted by David Ferguson

ETERNAL BEAUTY (2020)

October 1, 2020

 Greetings again from the darkness. There is an odd line early on in which the psychologist says, “Don’t fight depression. Make friends with it.” What makes this an odd line is that Jane is a paranoid schizophrenic, and depression doesn’t seem to be a driving force in her life. Craig Roberts wrote and directed the film (his second feature as director). You might know Mr. Roberts as an actor. He played the lead in SUBMARINE (2010). His approach as a filmmaker is one that keeps the audience off-balance; in fact, we can simply state this one is weird.

Sally Hawkins (THE SHAPE OF WATER, 2017) plays Jane. She lives on her own thanks to medication. Her family is present, though not especially supportive. A flashback takes us to Jane’s wedding day where a younger Jane is played by Morfydd Clark (THE PERSONAL HISTORY OF DAVID COPPERFIELD, 2020). Jane is spurned on her wedding day by her husband-to-be, and it pushes her over the edge emotionally and mentally.

An early scene gives us a peek at current day Jane. She brings wrapped Christmas presents to her parents’ house, and promptly hands over the receipts to each family member. She purchased her own gifts, acts surprised and grateful as she opens them, and expects her parents and sisters to repay her for the gifts. It’s quite a scene.

We follow Jane through her days as she seems to drift in and out of awareness and reality. She periodically hears her phone ring, and by answering she hears the voice of her former fiancé. The red phones match the phone she was on during her last conversation with him on her wedding day. It’s her most painful and visceral memory, and one that Jane can’t seem to overcome.

Relationships between the parents and the sisters are quite something to behold. Penelope Wilton (THE BEST EXOTIC MARIGOLD HOTEL, 2011) is the mother prone to cruelty and confusion, whereas the father (Robert Pugh, MASTER AND COMMANDER) nearly fades into the wallpaper, though seems more empathetic. Jane’s sisters Nicola and Alice are played by Billie Piper (“Penny Dreadful”) and Alice Lowe (GET DUKED!, 2020). Nicola envies Jane’s ability to collect free money (disability), while Alice is estranged from their mother, and claims her “normal” life is boring.

When Mike (David Thewlis from Charlie Kaufman’s latest, I’M THINKING OF ENDING THINGS) enters the picture, it’s like a jolt of electricity from touching the wrong wire. Mike is somehow stranger than Jane, yet they manage to connect. As an example of the film’s odd dialogue, when Jane asks Mike how things are going, he responds, “Things were looking up for a few weeks, a couple years back.” That’s the type of exchange we deal with throughout, and it takes an inordinate amount of energy to process what we see and hear.

One shot from cinematographer Kit Fraser is a particular standout. It comes from inside a microwave, replete with rotisserie base and Jane’s face peering through the glass. There are numerous moments we’ve not previously seen or heard in movies … like the doctor clarifying if the patient is “fine or good”. Ms. Hawkins delivers another strange, but affecting performance … something she has mastered over the years. She always makes the character hers, and makes us care about her. An added bonus is hearing Ricky Nelson sing “I Will Follow You” … slightly more soothing than David Thewlis’ frantic electric guitar performance. It seems certain that filmmaker Roberts agrees that normal is boring, and he ensures his film and characters are not.

watch the trailer:

https://www.youtube.com/watch?v=9q_oBwY5AOk

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Posted by David Ferguson

PADDINGTON 2 (2018)

January 11, 2018

 Greetings again from the darkness. The sequel to the hit 2014 PADDINGTON movie reunites most of the cast, as well as the director Paul King and his co-writer Simon Farnaby. Unfortunately, Michael Bond, Paddington Bear’s creator and author of more than 150 affiliated books passed away in 2017, and was not able to see this most charming follow-up. The beloved little bear first hit UK bookstores in 1958 and has been part of the childhood of every generation of kids since. Now the movies have given life to the little bear with the red hat, blue coat and tiny suitcase.

The entirety of the Brown family returns: Sally Hawkins as Mary, Hugh Bonneville as Henry, Madeleine Harris as Judy, Samuel Joslin as Jonathan, Julie Walters as Mrs. Bird, and Jim Broadbent as Mr. Gruber. Also back are Imelda Staunton and Michael Gambon as the voices of Paddington’s “aunt” and “uncle”, and of course, Ben Whishaw returns as the familiar voice of the adored and oh-so-polite bear.

Most notable among the new faces are Brendan Gleeson as Nuckles (that’s with a capital N), and Hugh Grant as Phoenix Buchanan, this story’s two-faced (and maybe more) villain. You’ve likely never seen the usually reserved and proper Mr. Grant in a role quite so colorful and flamboyant. He seems to be having a devilishly good time.

As the movie begins, we are quickly assimilated into the community where Paddington has made such a difference. The core element to this bear is that he treats all with kindness and finds the best in each person. The results of this approach are clear in how his neighbors enthusiastically greet him each morning … it’s a reminder of the power of kindness. Only when Phoenix Buchanan’s dastardly deed and actions catch Paddington in the crossfire does the film take an abrupt left turn from his blissful life.

If the film has a flaw, it’s in a story that is likely too complex and intricate for the youngest viewers to follow. However, it’s that story that older kids (and grown-ups) will most appreciate and relate to. Younger kids may be lost at times, but there are enough visual pratfalls and bear hijinks to keep them oohing and aahing and laughing – I witnessed these reactions in a theatre that was about half-filled with kids.

This sequel will probably be viewed as an improvement to what was a pretty entertaining original. There is enjoyment for all ages, and it’s a rare combination of cuteness and charm with a strong message of kindness. If that’s not enough for you, stay for the credits and take in the Bollywood-style musical number that will erase any doubts you might have had about Hugh Grant’s commitment to the mission.

watch the trailer:

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Posted by David Ferguson

THE SHAPE OF WATER (2017)

December 8, 2017

 Greetings again from the darkness. Recent release JUSTICE LEAGUE is filled with superheroes, but filmmaker-extraordinaire Guillermo del Toro finds his league of misfits and outcasts to be much more interesting – as do I. The numerous possible descriptions of this movie are all accurate, yet alone, each falls short: a fairy tale, fable, monster movie, unconventional romance, sci-fi, cold war saga, and commentary on societal misfits. What is also true is that it’s a gorgeous film with terrific performances, and it pays lovely tribute to the classics.

A government research facility in 1962 Baltimore is the setting, and “The Asset” being secured and studied is an amphibian man that was captured in South America by a sadistic Richard Strickland (Michael Shannon) and his electric cattle prod. Now the military, and a 5-star General played by Nick Searcy, is in charge. The lead scientist played by Michael Stuhlbarg certainly has a different agenda than the military, whose focus seems to be more on preventing the Russians (closer than you think) from stealing the asset than in actually seizing the rare scientific opportunity for advancement.

While all the ominous and clandestine government operations are being conducted, a member of the nighttime cleaning crew – a mute woman named Elisa (Sally Hawkins) – makes a very personal connection with the fish man through nutritious snacks, Big Band music and sign language. This is the enchanting portion of the story and is admittedly (by del Toro) inspired by the 1954 classic CREATURE FROM THE BLACK LAGOON (a personal favorite of mine). Elisa and the amphibian man experience a romantic courtship not unlike what we have seen in many other love stories … that is, if you overlook the amphibious being that makes up half of this couple. In fact, “going with” the story is crucial to one’s enjoyment. Sit back and let the magic and wonder and fantastical nature of del Toro’s imagination sweep you away – just as it has done for Elisa.

There are many elements of the film worth exploring, and it’s likely to take another viewing to capture many of them. The band of misfits is comprised of the fish man (Doug Jones), Elisa (Ms. Hawkins), Elisa’s wise and wise-cracking co-worker Zelda (Octavia Spencer), and Elisa’s neighbor Giles (Richard Jenkins), a closeted gay graphics design artist. These are the nice folks/beings who make up the world that seems to be run by bullies and predators (sound familiar?). There is even a religious debate here as it’s mentioned that the creature was treated by a God in his natural environment, and a brief discussion is had over what might a God look like. All of the actors are superb, and Miss Hawkins delivers her second knockout performance of the year (the other being MAUDIE).

“The future” is a central theme of the story, though Elisa is most focused on now – how to find some happiness in a world that has been so challenging. Elisa realizes she and the creature are more similar than not, and she feels his pain each time the power-hungry Strickland (Shannon) pops him with the electric cattle prod. There is an ethereal beauty (and yes, sensuality) to the scenes with Elisa and the amphibian man, and it even leads to a terrific song (“You’ll Never Know” by Renee Fleming) and dance dream sequence. In addition, you’ll notice many nods and tributes to classics such as Mr. Ed, Dobie Gillis, Betty Grable, Bill “Bojangles” Robinson and Shirley Temple, and Carmen Miranda singing “Chica Chica Boom Chic”. It’s also no accident that the apartments of Elisa and Giles are located directly above a palatial old movie theatre that is struggling to make ends meet. All of these pieces are tied together as Mr. del Toro honors the art forms he so adores.

For those who enjoy such detail, it should be noted that the color green plays a huge role throughout the film … the water, the creature, the uniforms, the furniture, the walls – even the Jello, the pie and Strickland’s (teal) Cadillac. The use of color ties in the ever-present mythology, and the theme of meanness and power versus kindness and love.

Cinematographer Dan Laustsen adds to the magical feel with his camera work and lighting that perfectly complements the characters and tone. Oscar winning composer Alexandre Desplat delivers yet another spot on score that not only syncs with story, but also the numerous classic songs included. Guillermo del Toro is one of the most creative and inventive contemporary filmmakers, and though this one may fall a tick below his masterpiece PAN’S LABRYNTH, it is sure to dazzle and mesmerize those who give it a chance … and let’s hope there are many who do!

watch the trailer:

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Posted by David Ferguson

MAUDIE (2017)

July 8, 2017

 Greetings again from the darkness. As the saying goes, “opposites attract”. It seems the bond between Canadian folk artist Maud Lewis and her reclusive employer/husband Everett Lewis prove this so – at least at first glance. However, digging deeper, as director Aisling Walsh and writer Sherry White do so expertly here, we discover an abundance of subtle similarities and life events that connect these two … showing yet again that real life is often stranger than fiction.

Sally Hawkins delivers her best performance to date (and a slam dunk Oscar nomination awaits) as Maud. She somehow manages to look even smaller on screen and capture the twisted, painful posture and movements of one stricken with severe arthritis. Ethan Hawke is Everett, the local fish peddler who lives like a hermit in his one-and-a-half room shack on the outskirts of town. Our first glimpse of Maude has her sneaking a cigarette on her Aunt’s porch while she listens to family members argue about who has to care for her. We first see Everett has he stomps into the general store demanding the shopkeeper write out and post his job opening for domestic help.

Filmed in Canada and Ireland, cinematographer Guy Godfree captures the harshness of the seasons and, more impressively, the claustrophobic and sparse living conditions of Maud and Everett’s tiny home (nothing like the HGTV segments). Maud’s sweetness and never-ending ability to find joy in the moment contrasts with Everett’s cantankerous and even initially cruel approach. These polar opposites are both societal outcasts, but eventually develop respect and yes, even love (though such a word would never be exchanged between the two). Hawkins and Hawke share two especially fabulous scenes – their initial meeting in his house, and a many-years-later emotional exchange on a bench. Hawke’s character is a bit challenging for the audience, but Hawkins captures our heart immediately.

Supporting work is minimal, yet effective, as Zachary Bennett plays Maud’s brother Charles, Gabrielle Rose is her Aunt Ida, and Kari Matchett is Sandra – the New Yorker with the fancy shoes who first spots Maud’s talent. Much of the story focuses on Everett’s pride and Maud’s joy/spirit, while slowly they both gain a bit of fame thanks to her artistic talent and their living arrangement.

Ms. Hawkins has long been an underrated actress (despite last year’s Oscar nomination), and her turn in Happy-Go-Lucky (2008) was proof she could carry the lead. Here, seeing her hoist such a real life character and story on her hunched back is a thing of beauty and is not to be missed. It’s an artful movie about an artist and making the best of life. The film’s music is perfectly understated and features acoustic guitar, violin and piano. It should be noted that the end of the film features a clip of the real Maud and Everett, and their house has been preserved and displayed at the Art Gallery of Nova Scotia.

watch the trailer:

 

 

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Posted by David Ferguson

A BRILLIANT YOUNG MIND (2015)

September 9, 2015

a brilliant young mind Greetings again from the darkness. Somewhat surprisingly, mathematics has been the basis for some pretty interesting movies, including Good Will Hunting and A Beautiful Mind.  Equally surprising are the quality movies with lead characters struggling with Asperger Syndrome or Autism – Adam and Rain Man, to name a couple.  Also fascinating, albeit in a different way, are movies that have depicted child prodigies or geniuses. Examples of these are Little Man Tate, Searching for Bobby Fischer, and Akeelah and the Bee. However, it’s this film from director Morgan Matthews that is the first I can recall to combine all three elements.

Mr. Matthews’ directorial resume is filled with documentaries and he brings that no-nonsense approach to this story based on the life of David Lightwing, a young math genius with Asbergers. Asa Butterfield plays Nathan, a boy whose only love is mathematics. He lost his beloved father at an early age, and has since not connected with anyone … even his most devoted and long-suffering mother, played by Sally Hawkins.

Nathan begins studying under Rafe Spall’s Martin, himself a former child math prodigy, whose struggles with Multiple Sclerosis act as a defense mechanism that prevents him from having any semblance of a well-rounded life. The two are a perfect match, and within a few years, Nathan is competing to join the prestigious International Mathematics Olympiad held at Cambridge. Martin has his own personal history with both the event and the team’s coach, played by Eddie Marsan.

The film does a really nice job of illuminating the pressures on both loved ones (parents, teachers, etc) and the prodigies themselves. It explores the question of whether being “gifted” is really a gift or a burden. This is brought to life through the performances of Butterfield (and his many pained faces), Spall (as a man searching for meaning), and Hawkins (as a mother who yearns for nothing but a flash of reciprocity from her son). Also effective is Marsan as the coach, and Jo Yang as Nathan’s Chinese study buddy.

It’s a very touching story, and easily accessible for those of us who fall a bit short of the genius level. It also takes a shot at explaining love in math terms – not something previously featured on screen. And finally, it has one of the most heart-warming and sincere movie hugs one could ask for. In simple terms, it all adds up to a fine movie.

watch the trailer:

 

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Posted by David Ferguson

GODZILLA (2014)

May 18, 2014

godzilla Greetings again from the darkness. Sixty years after Godzilla made his initial screen appearance, we get a full blown Hollywood special effects blockbuster version that will eclipse the $100 million mark in its first weekend. This is director Gareth Edwards’ second feature film (Monsters, 2010) and he juggles the modern day re-imagining with the Japanese roots and a hand full of other tributes throughout.

The cast seems impressive: Bryan Cranston, Juliette Binoche, Elizabeth Olsen, Sally Hawkins, Ken Watanabe and David Strathairn. Unfortunately, most of these fine actors have little to do, and instead the dominant human presence (most every scene) is Aaron Taylor-Johnson (Kick-Ass) who somehow keeps getting gigs despite lacking even a dollop of screen presence or acting ability. Of course, this movie is supposed to belong to Godzilla, and even he is usurped on screen time by two nuclear-feasting praying mantis creatures that share some attributes with the classic “Alien”. These screen hogs are called MUTO’s (Massive Unidentified Terrestrial Organisms) and are quite substantial … crushing skyscrapers by landing.

The 1954 original film was an anti-nuclear statement, though the re-edited U.S. version replaced the political statement with Raymond Burr. Mr. Burr also appeared in the 1984 sequel which included a storyline of feeding off a nuclear plant (borrowed in this year’s version). This film’s prologue featuring Bryan Cranston working at a 1999 nuclear plant is an unmistakable nod to the recent Fukushima disaster, and sets the stage for the collision of science (Watanabe) and military (Strathairn). Director Edwards clearly enjoys his Jaws-like teasing of Godzilla, who finally shows up after almost an hour. And despite the Jurassic Park roar by our titular monster, this doesn’t hold a candle to Spielberg’s 1993 classic. We do get the quite familiar shots of bystanders running down the street, glancing back in fear – a must for any monster movie, and it should be noted that Godzilla films have a legacy of multiple creatures, as well as the man versus nature theme.

Having seen this one in 3D, I’ll mention again that the enhanced effects offered by this technology do not offset the darkened, dulled look. Add that to the almost total lack of color – it’s borderline Black and White – and there are simply too few breathtaking visual moments to consider this a monster classic.

SEE THIS MOVIE IF: you are a monster movie fan or a follower of the Godzilla legacy OR you need proof that a lead actor can be less engaging than Matthew Broderick was in the 1998 Godzilla film.

SKIP THIS MOVIE IF: you believe technological advances should produce a more visually stunning film than Jurassic Park from 21 years ago OR you happen to be a huge Juliette Binoche fan and expect to see her in a lead role.

watch the trailer:

 

 

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Posted by David Ferguson

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