"Last Christmas" (2019) film review

Year: 2019
Running Time: 102 minutes
Director: Paul Feig
Writers: Emma Thompson (story and screenplay), Greg Wise (story) and Bryony Kimmings (screenplay)
Cast: Emilia Clarke, Henry Golding, Emma Thompson, Michelle Yeoh, Lydia Leonard, Boris Isakovic, Peter Mygind

Last Christmas is now showing in cinemas everywhere and is distributed by Universal Pictures.

Paul Feig's latest, inspired by George Michael's Christmas anthem, Last Christmas, may be as cluttered as an over-decorated Christmas tree. It is as predictable as a holiday movie can be, but is nevertheless a fun, uplifting, and heartwarming addition to the genre.With the exciting combination of Feig's direction and Emma Thompson's screenwriting, Last Christmas delivers everything a Christmas film promises with it's story, themes, music and visuals all in the holiday spirit.

Last Christmas is an interesting take on a Christmas film, as it attempts to blend the stereotypical features of such a film with social issues and themes that are not so typical. The film tries hard to do perhaps too much and is very busy as a result, though it is still admirable how much it gets done in it's 102 minute run time. Of course, the film ticks every box of a Christmas genre film and how comprehensively this task is completed will strike many as completely tiresome, though it will be a Christmas lovers delight.

Our down-on-her-luck heroine, Kate (Emilia Clarke) is living a destructive lifestyle while begrudgingly working in a London Christmas store as an elf. While attempting to chase after her dream of being a singer with no luck or great commitment, she meets a charismatic and mysterious stranger, Tom (Henry Golding) who helps her see the magic in life and inspires Kate to turn her life around. It's a story which we have seen many times before in countless rom-coms and Christmas films alike. Although the story itself isn't at all unpredictable or exhilarating, it is executed in such a way that it still manages to hit the mark and be uplifting, inspirational and moving.

At the Sydney Premiere of Last Christmas, Feig spoke of the unquestionable star power of Emilia Clarke and that is exactly what she exhibits in the film. Kate takes the leap from being an unlikable character to one that the audience completely falls and feels for, especially when it comes to her relationship with Golding's Tom. Yes, the screenplay plays you as it wants you to connect and relate to Kate, which can feel manipulative and irritating. However, in the holiday spirit it is forgiven and it is a credit to Clarke's performance that she is able to create a warmth to her character. Golding, who is the picture perfect love interest, lifts his performance to meet Clarke's and the two have great chemistry which adds to the audience's emotional investment in the film.

Despite the constant onslaught of fairy lights, colourful tinsel, disturbing Christmas tree decorations sold by Santa (Kate's boss hilariously played by Michelle Yeoh) and expected festive music, Last Christmas does try to be more than a holiday film that ticks all the boxes. The film is not only based on the 1986 Wham! classic that is played in every shopping outlet approximately 500 times during every holiday season, but it is a tribute to George Michael and his musical legacy. Last Christmas features not only the song it takes it's name after, but also many of his hit singles and a newly released song never heard before. There are also several Wham! and George Michael Easter eggs throughout the film, making this film a less obvious cinematic tribute to the man who passed three years ago this Christmas.

The film also touches on, but does not venture too far into, the effects of immigration, health problems and homelessness (an issue that was close to George Michael's heart) on families. With Kate's family moving from Yugoslavia when she was younger to escape the war, her family still struggles with adapting to a new life in the United Kingdom. Her father cannot find work in the profession he was trained in and her mother (played by Emma Thompson) struggles to let go of her old ways, both which are having a negative effect on their family. Emma Thompson convincingly plays the eastern European mother, taking quirks that many will recognise from their own mothers and turning them into comedy.

Last Christmas does unfortunately not get to the true heart of any of it's more serious themes. The reason behind this is that it really does try to do too much. The screenplay brings us to the brink of these more serious issues (especially the homeless epidemic), and then pulls us back so that we remember that this is first and foremost a Christmas film. This is the greatest downfall of Last Christmas. It really tries to be a Christmas movie to set it apart from other Christmas movies, but instead it just becomes a very, very busy Christmas movie that tries to say more than it does.

However, the bottom line is that Last Christmas really is an enjoyable and uplifting film for the holiday season that will be a staple for December viewing for many years to come. It is evident that Paul Feig and Emma Thompson have really tried to bring more to the table with this comforting reminder of how wonderful it is to be alive, but it is simply a case of trying to do too much and ending up with too much noise playing alongside the Christmas carols.

6.5/10

Loving (2016) film review

Year: 2016
Running Time: 123 minutes
Director/ Writer: Jeff Nichols
Cast: Ruth Negga, Joel Edgerton, Will Dalton, Sharon Blackwood, Marton Csokas, Bill Camp, Nick Kroll, Jon Bass

Loving will open in Australian cinemas on March 16 and is distributed by Entertainment One.

In another winning turn from writer/director Jeff Nichols, Loving is raw, subtle and endearingly human with absolutely sublime performances by Ruth Negga and Joel Edgerton.

The marriage of Mildred (Ruth Negga) and Richard Loving (Joel Edgerton) is legendary for it's role in the legalisation of interracial marriage in Virginia and 15 other states in 1967. In 1958, Mildred (who was of colour) and Richard (who was Caucasian) were married outside their home state of Virginia as interracial marriage was not recognised there. The two were arrested weeks later for anti-miscegenation and Mildred was thrown into jail when she was five months pregnant. Upon being released, the court rules that they must leave the state and not be in Virginia at the same time together again. The two continued to fight to have their marriage recognised in their home state and took their case to the Supreme Court.

While Loving is certainly being marketed as a romantic story of love overcoming all boundaries, it is a tremendous relief that it is not atypical of a Hollywood romance film, as the memory of Mildred and Richard Loving does not deserve that treatment. They deserve more than the candy-coating of their story to suit the wider audience. There will be many cinema goers who will disagree with me because adorable and all-encompassing romance is expected in mainstream cinema when the film is about marriage. It would have been far too tempting for the story of the Lovings to be told in such a way as a result.

However, with a writer/director at the helm like Jeff Nichols, this film was never going to be told like this. Nichols (who's past films have included Mud and Midnight Special) is known for his natural and raw method of storytelling and he was the perfect filmmaker to do the Lovings' story justice. The rural Virginian setting of Loving is extremely atmospheric and exquisite thanks to the film's glorious cinematography, but it also perfectly captures the socio-political climate of the southern state in the 1950's which is so very important to the story.

The best thing about Loving is that it does not try to push any of the issues or exaggerate any aspect of the film. The issue of race is not brought up in the film straight away as a way of showing that the Lovings never saw their race as being an issue in their relationship. They knew there wouldn't be a way to marry in Virginia because of the interracial marriage laws, so they travelled to Washington, DC. However, this is the only mention of race being an issue before they are taken into custody in their hometown. Race is a glaringly obvious theme of Loving, but its importance does not need to be emphasised as the issue and story are powerful enough without any help.

The Lovings were obviously quite reserved people who kept to themselves and even though their case was taken to the Supreme Court, they did not choose to appear in person. Despite the stigma that was attached to it, their marriage was not one that was out of the ordinary and this is perfectly depicted in Ruth Negga and Joel Edgerton's performances. The two give extremely subtle, but effective performances as the everyday couple who do extraordinary things to make sure they can provide a normal life for their family. Both Negga and Edgerton give beautiful performances and their chemistry is not overly physical, but never lacks power and strength.

Loving is an extraordinary and powerful story about ordinary people wanting their marriage recognised. It is a story that is most effective when approached with subtlety and as naturally as possible. Thankfully, Jeff Nichols has taken the story of Mildred and Richard Loving and done them absolute justice with this beautiful film.

8/10

Passengers (2016) film review

Year: 2016
Running Time: 116 minutes
Director: Morten Tyldum
Writer: Jon Spaihts
Cast: Chris Pratt, Jennifer Lawrence, Michael Sheen, Laurence Fishburne

Passengers is now showing in cinemas everywhere and is distributed in Australia by Roadshow Films.

In 2007, the Passengers screenplay written by Jon Spaihts was featured on the Blacklist, which is a list of the year's best scripts that have yet to developed for the screen. Now nearly 10 years later Morten Tyldum has brought Spaihts' screenplay to life.

After watching the film, it is not only obvious why the screenplay was part of the Blacklist, but it is also obvious why it took so long for it to be made. Passengers sounds as though it could be an intriguing enough story, but there is only so much that can be done with it when translated onto the screen. The end result is a film that is fine, but could never really have been something truly special.

In the future when Earth is over-inhabited, the spaceship, Starship Avalon transports 5000 passengers to Homestead Colony to set up the next stage in human existence. Although the journey is to take 120 years and all the crew and passengers are to be in hibernation pods until just before arrival, a malfunction occurs and Jim Preston (Chris Pratt) awakes 90 years ahead of schedule. He is the only being to be awake on the Avalon besides android bartender, Arthur (Michael Sheen), until he is joined a year later by Aurora Lane (Jennifer Lawrence). The two have an instant connection, but it is a connection that may not have been made under the most ethical circumstances.

Passengers is really everything it could have been. Morten Tyldum directs it to the best of his ability and both Chris Pratt and Jennifer Lawrence bring as much to the screen as they possibly can. The fault of the film does not lie in the production of it. There was just no possible way that the story could have been developed for the screen without it coming across as mostly unoriginal, only slightly ludicrous and mediocre at best.

The film has been likened to a cross between 2001: A Space Odyssey and The Notebook, which sounds so odd that it sets off alarm bells instantly. While the sci-fi genre is typically able to get away with an escape of realism, the whole concept of Passengers just seems too far-fetched for it to be taken seriously. It is the type of film that one watches knowing that they should be pondering the ethical dilemmas and underlying themes being presented by the characters and their situations, but they are just too far removed to make a connection. There are indeed some interesting ethical questions to be explored there, particularly in regards to Jim and Aurora's relationship origins, but it is difficult for these to become conversation starters when the ludicracy of the story is the film's main talking point

However, Passengers does have some redeeming features. The production design by Guy Hendrix Dyas of the Starship Avalon's interiors is very impressive as they are complex, but neat and linear. There are some truly spectacular celestial moments throughout the film, but it is a shame that they are few and far between. One also cannot fault the film's two stars, Chris Pratt and Jennifer Lawrence. Passengers is perhaps the most intense role Pratt has had to date and he maintains the comical demeanor that he has become popular for as well as showing the needed emotions. Jennifer Lawrence gives her consistent all to the role of Aurora and has a great chemistry with Pratt onscreen.

Despite the misgivings of the film, Passengers is still watchable. It is not painful to watch by any means, but struggles to make something meaningful out of something so ridiculously far-fetched.

5/10

La La Land (2016) film review

Year: 2016
Running Time: 128 minutes
Director and Writer: Damien Chazelle
Cast: Emma Stone, Ryan Gosling, J.K. Simmons, Rosemarie DeWitt, John Legend

La La Land is now showing everywhere and is distributed  in Australia by Entertainment One.

The exquisite La La Land is a multi-layered, whimsical and truly timeless piece of creative brilliance from Damien Chazelle that is an ode to both old and new Hollywood.

La La Land opens on a busy freeway, a scene which is more than familiar to anyone from Los Angeles. Sitting in this terrible, but expected traffic jam are an aspiring actress who is yet to have her big break, Mia (Emma Stone) and a jazz musician who longs hit the big time and open his own venue, Sebastian (Ryan Gosling). Despite a middle finger salute by Sebastian being their only communication here, fate would have it that these two cross paths a number of times before they fall in love with one another. Their romance is idyllic and uncomplicated, until their dreams start to get in the way of each others.

Timeless is the best way to describe La La Land in one word. Usually when people use the word "timeless" to describe a film, it means that they believe it will stand the test of time and still remain relevant after years go by. La La Land is this, but it is also timeless because it is a story that could be told at any time during Hollywood's history. Not only that, but it contains so many elements from the past and present that you are never quite sure when the film is set. Instead of this being confusing, it is divine.

Chazelle's film is a love letter to Los Angeles (particularly Hollywood) in it's past and present and is a kaleidoscope of nostalgic and modern images and music. At any one time, you can be watching a scene that seems to be taking place in the present, but is surrounded by pieces of 1950's nostalgia and featuring a song such as "Someone in the Crowd" that would not have been out of place in a MGM musical of yesteryear (including such films as Singin' in the Rain, An American in Paris and Swing Time). La La Land does draw great inspiration from these past musicals in the composition, dance routines and cinematography in numbers such as  "A Lovely Night" and the unforgettable Griffith Observatory scene.

La La Land is deceptively complex and it is so in the most beautiful of ways. There are so many layers to the film and so many things to be taken away from it. Some themes will ring true with some viewers more than others, but it is without a doubt that those who have worked or live in the entertainment business will take a great deal away from the film.

The most obvious theme is that of following your dreams. Emma Stone's Mia and Ryan Gosling's Sebastian are our dreamers and they are relatable to anyone who has ever chased after a dream that seems so huge that it is out of their reach. Mia's speech in small town Nevada is particularly moving as she verbalises what anybody who has been rejected and thought of giving up has felt. Emma Stone and Ryan Gosling are both at their most lovely and charming in La La Land. Their chemistry is perfect as they work off each other incredibly well and they too create characters that are a perfect balance between the modern and the old Hollywood starlet and leading man.

The film also has the underlying theme of preserving history, something which is often neglected in Hollywood and it's surrounding areas. Sebastian speaks of jazz as an art form dying and the Rialto Theatre in the film (and real life) is a beautiful old theatre that is closed down. Both of these are signs of how people can often forget about preserving something from another time and ultimately they become lost. However, Chazelle's movie as a whole really is a homage to old Hollywood with the many references that appear throughout the film.  Again, La La Land is reminiscent of golden age of Hollywood films by way of it's musical numbers, but also with it's use of captions and in it's whimsical, romantic nature. In this way, Chazelle is actually doing his part to preserve Hollywood history by paying tribute to it with his film.

It also must be said that Los Angeles looks at it's best in La La Land. Despite having a reputation of a sun drenched Californian city of glitz and glamour, LA struggles to uphold this image in real life as certain areas can look run-down and unpolished. However, it is at it's most beautiful in the film showing many famous landmarks in amazing light and colour. The image of the Los Angeles of La La Land is aligned with the dreamlike atmosphere of the film and almost symbolises the pull the city has for dreamers to flock to this land where magic happens. There are also plenty of in-jokes for those who have lived in Los Angeles.

La La Land is pure, old-fashioned cinematic escapism. It maintains an incredible equilibrium between what is nostalgic and modern and the result is absolutely exquisite.

9.5/10

Brooklyn (2015) film review

Year: 2015
Running Time: 111 minutes
Director: John Crowley
Writers: Colm Toibin (novel), Nick Hornby (screenplay)
Cast: Saoirse Ronan, Emory Cohen, Domhnall Gleeson, Jim Broadbent, Fiona Glascott, Julie Walters, Eileen O'Higgins, Jessica Pare, Emily Bett Rickards, Eve Macklin, Nora-Jane Noone

Brooklyn is now showing in cinemas everywhere and is distributed in Australia by Transmission Films and in the United States by Fox Searchlight.

With it's glorious sense of 1950's nostalgia, it is almost surprising how relatable the story and themes in John Crowley's Brooklyn are to the modern woman in it's heart-warming story of personal growth and love.

In the early 1950's, young Irish girl, Eilis (Saoirse Ronan) is sent to America to make a new life for herself in Brooklyn, New York. Plagued by an over-whelming sense of homesickness, the beginning of her journey is not a happy one. However, things soon turn around for Eilis when she finds a sense of purpose studying bookkeeping at night and meets Tony (Emory Cohen). She and Tony find love in one another and start to plan for a future together, until Eilis receives the terrible news that her beloved older sister, Rose (Fiona Glascott) has passed away suddenly. She returns to Ireland to console her mother and is faced with the dilemma of whether she should stay in her homeland with her mother or return to Brooklyn to her new life and Tony.

Brooklyn is a simple, but incredibly sweet and beautiful film. It's beauty lies in both the exquisite mode of storytelling by screenwriter, Nick Hornby and in the delightfully unique visuals of 1950's Brooklyn. The story of Eilis is uncomplicated and straightforward, but it's charming nature makes it mesmerising and enjoyable. While Brooklyn seems to primarily be encouraging one to follow their heart, it possesses a greater depth than it's face value. It shines a light on the idea of doing something because it is what you know what is right for you rather than what everybody else believes you should do. Following one's heart is easy when you have support from those around you, but it is much harder to do when what everyone else believes what thy think is right for you contradicts your beliefs. Eilis experiences an internal struggle on return to Ireland when she starts to once again feel as though she is part of the town, but she soon realises how trapped she feels by everyone else's assumptions about her future.

Despite it being set over half a century ago, the idea of a young girl leaving home and travelling overseas by herself is a rather modern one. While in this day and age a plane would transport one across the seas instead of an ocean liner, many young people (both men and women) embrace the idea of leaving home and living a year abroad. The emotions one goes through upon arrival in a brand new country are very similar to Eilis. It is not unusual to feel an initial overwhelming sense of homesickness before finding your feet and embracing a new life with new opportunities which would not be found in one's homeland. A solo trip abroad can also make one more independent and also more confidant within oneself, which seen here with Eilis in Brooklyn. This, along with it's theme of self-fulfilment, makes Brooklyn incredibly relatable despite the time in which the film was set.

Brooklyn is an incredibly attractive production with it's superb cinematography and phenomenal costume design. The location shots of both Ireland and New York are contradictory in nature, but they are both beautiful in different ways which allows one to understand Eilis' dilemma It is the exquisite costume design by Odile Dicks-Mireaux and complimenting hair and make-up that gives the film a true nostalgic and rather sweet and adorable edge. The costumes are absolutely beautiful, particularly the New York characters' wardrobes. Their clothes come to represent who each character is, where they come from and also change as the character develops.

Saoirse Ronan is the perfect fit for Eilis. Ronan herself was born in New York City to Irish parents who moved back to Ireland when she was very young. She brings a sincerity to the role that makes one feel immediately engaged and emotionally invested in her character. Ronan truly does carry the film as she is in almost every scene and is at all times engaging as the sole focus. She is fiercely real as the timid, homesick girl from Ireland and completely believable in her character growth and development. Emory Cohen is also a stand out. Like Ronan, he brings a real sincerity to his role as  Eilis' Italian boyfriend, Tony and the joy of his love for Eilis is both incredibly sweet and infectious.

Brooklyn is a truly exquisite piece of cinema. It is an absolute joy to behold with it's engaging tale of love and self-discovery and it's visual beauty.

9/10

Trainwreck (2015) film review

Year: 2015
Running Time: 125 minutes
Director: Judd Apatow
Writer: Amy Schumer
Cast: Amy Schumer, Bill Hader, Brie Larson, LeBron James, Colin Quinn, Tilda Swinton, Vanessa Bayer, Ezra Miller

Trainwreck opens in Australia on August 6 and is distributed by Universal Pictures. Now showing in the United States and opening in the United Kingdom August 14.

Trainwreck is unapologetically funny with it's witty and uncompromising screenplay brought to life by a superb cast driven by Amy Schumer, but it also surprises with it's depth of human relationships. Amy (Schumer) is living the life, or so she believes. She has a great job at S'nuff magazine where she is up for a promotion and has a different love of her life every night who she says goodbye to before they are able to wake up the next morning with her. When she meets Dr. Aaron Conners (Bill Hader) on a work assignment, she is perplexed to discover that she may have met her match...the thing that she was brought up to believe was only going to lead to unhappiness and being trapped for the rest of her life.

Trainwreck breathes new life into the romantic-comedy and breaks through the stereotype of this being a female audience dominated genre. The wonderfully witty script (also written by Amy Schumer) celebrates the world as a place where not everyone wants the same things out of life and love while at the same time seeing the comical value in the differences. Although the screenplay is not entirely airtight, it is forgiven due to it's comedic value as the laughs come at a rapid pace in every scene with no lapses in humour including in the more serious scenes. While there are many a sexual joke, there is also much well-timed general and situational humour that doesn't rely on tired and uncreative methods to get one laughing.

However, despite Trainwreck containing many a crude sex joke which may not be to everyone's taste, the film also has a great deal of heart and says a great deal about the dynamics of family. Amy and Kim (played by Brie Larson) are almost polar opposites as sisters which comes down to the fact that their parents were seemingly complete opposites and while Amy idolised her father (Colin Quinn), Kim idolised her mother. The two take after the parent they worshipped and in Amy's case this includes the worst parts of her father. From the first scene we see this where Amy listens to her father's views on marriage and we then see her living up to this view herself in her 30's. She is even aware of what these negatives are and hates these aspects of him, but without even realising it replicates his bluntness, negativity and addictive nature, particularly to vices such as alcohol and sex. It would seem that Gordon is the original trainwreck with his adoring daughter mimicking his behaviour, which can often happen in children.

Amy Schumer may well be the fastest rising star in comedy this year and Trainwreck gives one a valid understanding of why. Not only is her script hilarious, but she shines on the screen in a performance that is natural and heartfelt. When she is hilarious she is hysterical and when she is emotional she is heartbreaking. She is the perfect comedic leading lady for the present and regardless of the fact that the role was written by her for her, she is believable and has an effortless sense of comedic timing. While her Amy may not always be completely likable due to her self-destructive nature, she is still a character one loves to watch.

Schumer is surrounded by a superb supporting cast who raise plenty of laughs themselves. Bill Hader is completely endearing and immediately likable as Aaron. His dead pan sense of humour works so well in Trainwreck as it makes his delivery of humorous dialogue unexpected and catches one by surprise. His on-screen chemistry with LeBron James, who plays himself is superb and also hilarious. Brie Larson almost sneaks under the radar as Kim, but still gives a solid performance and Tilda Swinton is almost unrecognisable as Amy's difficult boss, Dianna, but shows that her wonderful acting ability also extends into comedy. Watch out also for a hilarious cameo by Leslie Jones and cinema veteran Norman Lloyd.

Trainwreck has a fantastic awareness of self and may well be the best comedy released in 2015 so far. Amy Schumer is the leading lady which cinema-goers have been yearning for and here she proves why she is fast becoming a household name.

8/10

Aloha (2015) film review

Year: 2015

Running Time: 105 minutes

Director/ Writer: Cameron Crowe

Cast: Bradley Cooper, Emma Stone, Rachel McAdams, John Krasinski, Danny McBride, Bill Murray, Alec Baldwin, Jaeden Lieberher, Danielle Rose Russell, Bill Camp

 

Director Cameron Crowe made his latest film Aloha as a love letter to Hawaii and it is just that. A love letter to a beautiful part of the world which silently tells his audience that he was just desperate to make a film there and it didn't matter what sort of film. Aloha is a fine example of how trying too hard and not enough is possible in one film. Military man, Brian Gilcrest (Bradley Cooper) returns to Hawaii after more than a decade away and reconnect almost immediately with his now married ex-girlfriend, Tracy (Rachel McAdams) who he stood up in a most cold way. He is teamed up with Hawaiian born, Allison Ng (Emma Stone) who opens up Brian to a world he had neglected and helps him find happiness. He finds that old ghosts catch up with him quickly here and old acquaintances are not easy to forget.

 



Aloha is a wonderful travel advertisement for Hawaii. Cameron Crowe's love for the 50th state comes across loud and clear in this film so much that it feels as though everything else besides the visual representation is done at a mediocre level. The story is incredibly predictable and although there are some elements of originality in there, there is too much going on to pay attention and appreciate the creativity of one storyline when several unoriginal ones are also taking place at the same time. Likewise, it is hard to feel any connection and emotion in any of the film's sub-plots as they are all happening simultaneously and with little time and effort put into each one. This isn't helped by the characters being badly written so that no one can sympathize with them as they never truly feel as if they know them.

 

 

Everything in Aloha points to the explanation that Crowe was just desperate to make a film in Hawaii and that means any film. It feels as though he was so set on writing a film that is set in Hawaii that he only half developed everything else, including the depth of the characters and screenplay. Visually the film is very pretty, which is a feature that many will find attractive and be drawn to the film because of. It is rather atmospheric, but only in relation to the way white people are living there. The way the natives live on Oahu is not represented in a favourable light when it is seen in the film, which is seldom and although Crowe tries to work them into the film it does not seem like nearly enough.

 

Bradley Cooper has had a stellar run of film roles in recent years thanks to the wonderful scripts that have come his way. It will come as no surprise that Brian Gilcrest in Aloha is not one of these roles. Cooper does all he can, but Brian is such a badly written character who at the end of the day really has no idea who is so how is the audience expected to understand him or connect with him? He swings from being arrogant and obnoxious to being goofy and playful with no warning and although his background he should indicate a significant amount of depth, it is hard to take him seriously. Yet, the final scene is such a fine piece of work by Cooper and is his redemption.

 

Perhaps the biggest talking point of Aloha is the casting of Emma Stone as Allison Ng, the quarter Hawaiian and quarter Chinese love interest of Brian. Stone is a fine actress and has the quirky, but relatable personality which is highly marketable and cherished in Hollywood at this point in time. One cannot blame a film maker for wanting her to be in their film, but was Crowe craving her so much that he had to place her in a role that clearly wasn't meant for her? Performance-wise Stone does cross the line into the territory of over-exaggeration in an attempt to maintain her quirky comedic style so many have come to love. However, even if she was spot on it is incredibly hard to take her seriously when she talks of her heritage and her passion for the land and their customs because of her physical appearance.

 

The stand out among the performances is that of John Krasinski who plays Tracy's husband, Woody. The surprising thing is that Krasinski says only a handful of words throughout the whole film, but he is truly hilarious and proves that actions speak louder than words.

 

It is hard to decipher whether Aloha has the potential to be a better film than what it is. Cameron Crowe certainly has the ability to be a better film maker and the impressive cast have given much better performances in the past. Overall it is a mere disappointment, but the last ten minutes is a gem. It is just a shame you have to wait so long for it.

 

2.5/10

 



The Age of Adaline (2015) film review

Year: 2015
Running Time: 110 minutes
Director: Lee Toland Krieger
Writers: J. Mills Goodloe and Salvador Paskowitz (story and screenplay)
Cast: Blake Lively, Michiel Huisman, Harrison Ford, Ellen Burstyn, Amanda Crew

The Age of Adaline is now showing everywhere and is distributed in Australia by Entertainment One.

The concept of The Age of Adaline is so ridiculous that it has the power to more than once provoke an eye-roll, yet it still remains surprisingly enjoyable with it's gentleness and grace. Adaline Bowman (Blake Lively) holds a great secret, she has been 29 for almost 80 years. Her eternal youth has forced her to live a solitary life and to not let anyone know about her burden, besides her only daughter, Flemming (Ellen Burstyn) who in 2014 passes for her grandmother. Although she tries, she cannot resist the charms of Ellis Jones (Michiel Huisman) when he falls for Adaline under her pseudonym of Jenny. When she finally allows herself to admit her feelings for Ellis, she must also face her past in order to move forward.

The reasoning behind Adaline's inability to age is so unbelievable that it is rather ludicrous and it is the silliness of this backbone to The Age of Adaline that unfortunately cannot be forgotten throughout the film. However, within this story are some hidden gems which allow the film to not be written off as a result of this. Society is obsessed with the idea that we will somehow discover the fountain of youth and fulfil the desire to be forever young. However, The Age of Adaline seeks to confirm that the idea of staying youthful forever is not as perfect as it may seem, especially if it means watching those around you change and move on with their lives. Adaline is denied the privileges of growing older and in her situation, misses out on forming meaningful relationships in her life. In reality one doesn't stay young while others around them age, but there are those who depart our world prematurely and miss out on the wonderful things that come with aging such as a lifetime with the ones they love and watching their children grow up. There are of course the negatives that are associated with aging and there are the positives of youth, but The Age of Adaline subtly attempts to remove some of the stigma associated to aging and to remind one that there is grace and beauty in the passing of time.


Despite the often slow pace of the film, The Age of Adaline is a rather enjoyable experience with it's graceful, gentle storytelling and extremely pleasant production and costume design. The film has an overall comfortable and cosy atmosphere in which the viewer feels unchallenged. This is not to say that the film is entirely an unmoving experience, as there are some beautiful and romantic moments between Adaline and Ellis. The flashbacks are very nostalgic as a result of wonderful production design by Claude Pare and the exquisite costume design. Designed by Oscar winning designer, Angus Strathie, the past and present attire of Adaline are a fashion lover's dream and worn to perfection by Blake Lively.

 

Lively's performance as the un-aging Adaline is deceptively complex. On the surface she is indeed a beautiful and youthful lady, but her soul is much older which shows in the way she presents herself and way in which she speaks. She has the feminine grace and class that her generation was taught long ago and applies this to herself in modern times. The chemistry between Lively and Ellen Burstyn is very well done with the mother and daughter dynamic represented in an uncommon situation.

Michiel Huisman is perfectly cast in his role of Ellis Jones. He possesses every quality that makes him the quintessential leading man in such a romance film as this and it is so believable that Adaline would want to go against everything she has ever believed for this man. Huisman is incredibly likable in this film with his sincerity and quick wit. Anthony Ingruber has also been receiving plenty of praise for putting his convincing Harrison Ford impersonations to good use by playing the younger version of Ford's character, William.

With the flaw in it's overall reasoning, it is a delight to see that The Age of Adaline has many strong points that go a long way to it's redemption. It is a wonderfully romantic and fashionable film that is to be taken for what it is and enjoyed.

6/10

Love, Rosie (2014) film review

Year: 2014
Running Time: 99 minutes
Director: Christian Ditter
Writers: Cecelia Ahern (based on the novel "Where Rainbows End" by), Juliette Towhidi (screenplay)
Cast: Lily Collins, Sam Clafiln, Suki Waterhouse, Tamsin Egerton, Art Parkinson, Christian Cooke

Love, Rosie will open in Australian cinemas on November 6 and is distributed by Studiocanal. Now showing in the United Kingdom and due for release in the United States early 2015 (tentative).

Based on the bestselling novel "Where Rainbows End"( AKA Love, Rosie) by Cecelia Ahern, Love, Rosie is an incredibly simple watch but does not lack in enjoyment. As the quintessential chick flick, the film is wildly predictable but makes up for this by being rather charming, fun and comical, along with a beautiful lead performance by Lily Collins. Love, Rosie is a rushed coming of age film blended with hints of romance which is extremely light, but pleasantly so.

Rosie (Lily Collins) and Alex (Sam Claflin) have been best friends since they were five years old. As their high school years are coming to an end, the two are seeing other people yet have grand plans to move to Boston together where Alex will study at Harvard and Rosie will study hotel management at Boston College. However, life has other plans for them and a twist of fate on prom night pulls the two apart from their joint destiny. Anyone can see that the two are meant for each, but destiny doesn't seem to be able to put them both in the right place at the right time to stop missing each other. Maybe they are just meant to be best friends who just love each other a tad more than they are supposed to.

Love, Rosie is, like the novel it is adapted from, by all means a film tailored for a female audience. It is incredibly easy to watch due to it's simplicity and predictable story which can be quite generic at times, but is very sweet and pleasant. Of course one feels they know where the film is going, but the journey is nevertheless enjoyable. The film covers twelve years in the characters lives in just under an hour and forty minutes so it cannot be regarded as a truly in depth coming of age story as it is obviously rather rushed, but it does give enough for the audience to connect with Rosie and Alex and very much care for the two of them over this period of time. It also addresses issues relevant to young people in modern times such as the pressure to get out there and do something with your life and the feeling of how you must settle for what seems right in the fear that there may not be another chance, which is not always right. Love, Rosie isn't completely unrealistic and is a story about taking the long way around to reach your destiny which many will find relatable.

The film doesn't rely on the power of its situations to make it a success, but rather its well written screenplay adapted by Juliette Towhidi which is quite funny and loving. The emotion of the film is rather sporadic with a great deal felt in some moments (such as the funeral), and not enough at others (eg. the impact of divorce). As is a staple in chick flicks, there are some awfully pretty images such as sparkly wedding and party scenes, ice cream and fashionable clothes. The soundtrack is also a lot of fun with songs relevant to the time period in which they are featured, such as "Crazy in Love" by Beyoncé and "F**k You" by Lily Allen.

Lily Collins is wonderful as Rosie Dunne. She carries the film with her strength in character and the ability to grow with her as she plays eighteen year old Rosie as well as she does thirty year old Rosie. She is extremely likeable and relatable as when she makes questionable decisions, the audience understands why she has made this decision and sympathizes with her. Collins provides the film with it's most emotional moments and is truly beautiful at these times.

Sam Claflin does well as Alex and although his performance isn't quite as strong and emotional as Collins, he is charismatic and likable. Collins and Claflin have great on screen chemistry where the love is felt between the two of them and the friendly manner in which they behave with each other is completely believable. Suki Waterhouse makes only her second film appearance in Love, Rosie and unfortunately isn't completely convincing as Alex's high school flame, Bethany who reappears during the film. On the other hand, Tamsin Egerton, who plays another girlfriend of Alex's, Sally, is completely convincing and does very well in her role.

Love, Rosie may be predictable and stereotypical as far as it being a chick flick, but it is a great deal of fun and offers those little differences that allow it to work and make it memorable.

6/10

The Hundred-Foot Journey (2014)

Year: 2014
Running Time: 122 minutes
Director: Lasse Hallstrom
Writers: Richard C. Morais (book), Steven Knight (screenplay)
Cast: Manish Dayal, Helen Mirren, Om Puri, Charlotte Le Bon

The Hundred-Foot Journey opens in Australian cinemas on the 14th August and is distributed by Buena Vista. Now showing in the USA and opening in the United Kingdom on the 8th September.

The Hundred-Foot Journey is a charming film filled with culinary delight and glorious landscapes. In retrospect, a film featuring such a sweet and inspirational journey should actually be a lot bigger than what it actually is. The film takes it's audience on a incredible journey which should provoke awe and admiration, yet it feels a little too much has been hurriedly crammed into it's two hour running time to really grasp the power and emotion that it should. There is no denying that it is indeed a nice film with many delicious visuals, but it is a film which knows it is charming and doesn't want to be too adventurous.

After the Kadam family have a series of unfortunate events happen to them, they make a fresh start in a small town in the French countryside. The head of the family, Papa (Om Puri) decides to open an Indian restaurant in an abandoned house, which just happens to be across the road from the town's Michelin star restaurant run by Madame Mallory (Helen Mirren). A battle between the two restaurants follows , but things change when a terrible act of cruelty is performed against the Kadams. However, the biggest change comes when Hassan Kadam (Manish Dayal) makes the hundred-foot journey across the road to work for Madame Mallory.

While The Hundred-Foot Journey is a fine film with particularly memorable and attractive visuals, it is also a film which had so much more to give. The Hundred-Foot Journey is, as the name suggests, a journey film. Journey films in general tend to have a lot to cover and as a result, if they need a longer than average running time in order to achieve this, it is forgiven. This film does indeed have a lot to cover and while it does cover all it needs to, it is done in an extremely rushed fashion. This is most evident in the second half of the film where everything is done as quickly as possible so it is able to fit into the two hour theatrical run time. There are many things which could have been fleshed out more in order to create real emotion rather than just be spoken of in one sentence and then moved on to the next thing. It was an opportunity to make a real emotional impact with the film that was sadly missed. The characters are likable and the story is sweet and inspirational, but it is just a shame that there is not enough feeling evoked to make it a great film.

However, what The Hundred-Foot Journey lacks in depth and emotion it makes up for by what it does aesthetically. It is the food that is on show here and is absolutely glorious. There are a wide variety of edibles carefully displayed throughout the film in beautiful fashion and with these visuals, the viewer is also able to smell and even imagine exactly how everything would taste. This is turn does evoke hunger in the viewer. The shots of the French countryside and it's rivers, woodlands and small town are all exquisite, as are the night shots of the stars and fireworks in the sky. The Hundred-Foot Journey invests a great deal in it's musical score. A different piece of music is used for all the restaurants to symbolise the different atmosphere each venue holds. There is also music dubbed into the film when particular foods are on screen and when a character is trying an amazing meal for the first time to enhance the importance of this food, such as when Madame Mallory samples Hassan's omelette. However, there are moments such as these when the use of the music is a little too much. It does add a charm to the moment, but perhaps too much charm.

Helen Mirren is wonderful to watch in this film. Her character of Madame Mallory evidently has a number of layers (many which are unfortunately not explored in great detail) and does as much as possible with what has been given to her. Mirren is always thrilling to watching in a domineering role as she has the ability to be intimidating and frightening without even raising her voice, as she demonstrates when dismissing one of her staff. Manish Dayal is very likable in the lead as Hassan. However, he is the one who suffers the most from the rushed nature of the film, particularly in the last quarter. So much suddenly happens to him, but he is not given the chance to make all of this work for him and bring out the emotions of his changing situation. Charlotte Le Bon is also very good as Hassan's love interest, Marguerite. She is once again incredibly likable and works well with Dayal.

Coming away from The Hundred-Foot Journey you feel as though you have seen a great deal, but not felt a great deal. Just a pleasant way to spend two hours.

6.5/10

And So It Goes (2014)

Year: 2014
Running Time: 94 minutes
Director: Rob Reiner
Writer: Mark Andrus
Cast: Michael Douglas, Diane Keaton, Sterling Jerins, Frances Sternhagen, Scott Shepherd, Annie Parisse, Yaya DaCosta Alafia

And So It Goes opens in Australian cinemas on the 7th August and is distributed by Studiocanal. Opens in cinemas in the United States on the 24th July and now showing in the United Kingdom.

If Rob Reiner, Michael Douglas and Diane Keaton were to be given a school report card judging their work on And So It Goes, it would read the same on all of them....."Can Do Better". If this was the first piece of direction you had seen from Reiner and the first film starring Douglas or Keaton you had seen, you probably wouldn't want to see another. And So It Goes is overly stereotypical, ridiculously exaggerated and completely predictable. The film doesn't feel as if it was made with any love or passion, rather it was just made for the sake of making a movie.

Realtor Oren Little (Michael Douglas) has had little compassion, time or respect for anyone since he lost the love of his life to cancer and disowned his addict son, Luke (Scott Shepherd). When Luke reappears to let his father know that he is going to jail, he also informs him that he has a ten year old daughter, Sarah (Sterling Jerins) who he needs Oren to look after while he is behind bars. Oren really has no desire to look after this little girl he knew nothing of, but his next door neighbour, Leah (Diane Keaton) is completely taken by Sarah and takes her under her wing while Oren figures himself out. Leah, who also struggles with the memory of the death of her husband, and Oren find that this little girl may be the one who helps both of them move on with their lives and ultimately find comfort in each other.

And So It Goes is completely and utterly typical for the type of film which it is. There is nothing whatsoever original about it and originality seems to be substituted by over exaggeration of the stereotypical romantic comedy genre features of the film.  And So It Goes is exactly what you would expect from a comedy led by actors in the same generation as Michael Douglas and Diane Keaton. It is the lightest of light watches, even though it deals with highly emotional subjects such as death and substance abuse. It is an understatement to say that And So It Goes is not the best work of anyone involved.  Rob Reiner's direction of his players is surprisingly mediocre considering what he has achieved in the past and doesn't support an already weak screenplay by Mark Andrus. Again, Andrus has written some wonderful screenplays in the past, including As Good As It Gets, which he was nominated for an Academy Award for. The screenplay leaves a great deal to be desired with certain situations leaving the audience scratching their heads in confusion. For example, why was Oren's co-worker Ted (Andy Karl) going to such great lengths to become friends with Oren's son when he clearly isn't that close to Oren anyway and why was messaging Luke on Facebook and texting him? Messages on Facebook and texting will typically give the same result.  Plus neighbour, Kennedy (Yaya DaCosta Alafia) has the easiest home birth ever.

With all these talented people attached, one has to wonder what really went wrong. The situations and characters in the film are wildly exaggerated which would normally point to the film makers trying too hard, but it is the exact opposite. The film just seems like it was made carelessly and without passion, like everyone just turned up for work and didn't particularly want to be there.

The film begins well enough with a glorious long shot over the Connecticut riverside location where the film takes place, and there are actually some beautiful location shots throughout the film. The town where the characters live is certainly idyllic and looks wonderful on screen. Yet the musical score attached to these images is once again stereotypical for such a film and bordering on corny.

The performances by those in the film are not all together terrible, but the way their characters are written and their direction does not give them a great deal to work with. Michael Douglas' Oren Little is an extremely unlikable character. He has his best and most empathetic moment in the last five minutes of the film, but the rest of the film see's his character taking the path so many cynical characters in film have taken many times before. His bitter dialogue is supposed to be funny, but comes across as just plain mean and often quite racist and sexist. Oren's character is constructed well as you feel you know his background in depth, but his development throughout the film is patchy and doesn't register on an emotional level the way it should.

Diane Keaton's performance is extremely over the top. Again, it is not as much Keaton's fault as it is the way she is directed. The way Leah cries at the drop of the hat during the film seems neither funny nor upsetting, it is more just ridiculous. Her emotional outbursts are not emotionally exaggerated as they are physically exaggerated by the way she throws her arms in the air and raises her voice at appropriate moments. Again, her character of Leah is constructed well, but it is not clear at what stage in the film she really starts to change or whether she really changes at all. She doesn't represent a strong female character by any means. However, Sterling Jerins and Scott Shepherd give strong performances and the scenes which the two are in together are actually quite sweet and emotional. At such a young age, Jerins gives perhaps the most controlled performance out of anyone in the film and her character is the best written in terms of development.

And So It Goes requires no emotional investment nor a great deal of brain power. It is unfortunately completely forgettable and a film which you get the feeling most involved would rather forget as well.

3/10

The Lunchbox (2013)

Year: 2013
Running Time: 104 minutes
Director: Ritesh Batra
Writer: Ritesh Batra
Cast: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui

The Lunchbox is a charming film which restores faith in the romance genre. It is a breath of fresh air into the masses of romance films which have crowded our cinemas in the past few years with overly stereotypical and predictable elements. The Lunchbox is exceptionally sweet and even though the story is quite simplistic, it accomplishes so much around this story of two lonely people who find each other in the most unusual fashion. While it is culturally significant to modern day India, the threads of romance laced through the film are rather old fashioned in a most welcomed way. The Lunchbox is tantalising, heart warming and aesthetically pleasing with it's wonderful visuals of Indian cuisine.

Mumbai's lunchbox system has always had a reputation of efficiency with there being very little chance of a person being delivered the wrong lunch. It is close to an impossibility, which is why it is so unusual when lonely wife and mother, Ila's (Nimrat Kaur) home cooked meal for her husband gets delivered to the wrong person. Her meal finds Saajan Ferndandes (Irrfan Khan), a reclusive widower who is preparing for retirement. The two begin an exchange of letters through the lunches and find that this exchange is what makes the difference they have both been craving in their lives.

Just when it seems like the romance genre has nothing new left to offer, along comes a film like The Lunchbox. It avoids all the stereotypical elements of a love story which usually play a huge part in the predictability of such films. It explores the lost art of penpalling in an original form and is slightly reminiscent of such films as The Shop Around The Corner and You've Got Mail, but only in the sense that the two lead characters are exchanging letters and forming a relationship with each other by doing so. Not only does the film follow paths not normally explored by other films in its genre, but it also keeps the viewer guessing right till the end and also beyond. It has an overall feel good atmosphere to it, but it is also deep and sensitive to the emotional hardships of life and love.

The Lunchbox is a wonderful cultural study of modern day Mumbai. The lunchbox system is one which people in western culture who have never visited India would not be familiar with and the film gives a wonderful introduction to it. Visually, The Lunchbox excels on so many levels. It does brilliantly at capturing life in Mumbai domestically, and also in an office environment. The first few shots of Mumbai in the rain first thing in the morning gives the impression of chaos, but is it is incredibly interesting chaos and quite an intriguing snapshot of life in Mumbai. The whole film contains many location shots which cannot be described as neat such as cluttered offices and homes, but there is beauty in the mayhem with the way it is charmingly shot. Yet, what leaves the greatest impression on the viewer is the wonderful food which is part of the character's lunchboxes. The Indian cuisine does not only look delightful on film, but the way in which the characters react (especially Saajan) to it allows you to imagine you can also smell the incredible aroma of the food and taste the spice.

There is a wonderful sense of character development in The Lunchbox. Each character changes throughout the film and their relationships with each other play a big part in this development. Irrfan Khan is very, very good as Saajan. He changes in a great way throughout the film and connects with the audience on an emotional level. This connection allows you to understand, admire and empathize with him in a way which resonates long after the film is over. It is beautiful to see how his relationship with Ila and his work colleague, Shaikh (Nawazuddin Siddiqui) change him and bring life, love and happiness back to his life.

Nimrat Kaur gives a beautiful performance as Ila. She starts off fragile and sad, but becomes a strong female character. Nawazuddin Siddiqui's Shaikh is a fantastic character. He has had such a tough life, but his spirit is contagious. It is obvious that his hardships have effected him, but his happiness and eagerness is beautiful. His character is so beneficial to the film as he is one of the biggest reasons Saajan learns to embrace life. Ila and Saajan may be the lead characters of the film, but Shaikh's presence is so important to their lives and relationships.

The Lunchbox is the film that sets the benchmark for romance films. The elements of it's genre are packaged in a most original way and delivered with beauty and charm within the chaos of it's world.

8.5/10

Endless Love (2014)

Year: 2014
Running Time: 103 minutes
Director: Shana Feste
Writers: Scott Spencer (novel), Shana Feste and Joshua Safran (screenplay)
Cast: Gabriella Wilde, Alex Pettyfer, Bruce Greenwood, Joely Richardson, Robert Patrick, Rhys Wakefield, Dayo Okeniyi, Emma Rigby

Endless Love is now showing everywhere and is distributed in Australia by Universal Pictures.

If you need one word to describe Endless Love, that word would be familiar. The word familiar is chosen not only because it is a remake of the 1981 film of the same name, but also because it is a concept we have seen numerous times on the screen. The story of star-crossed lovers who's parents don't agree with their relationship is anything but new and Endless Love has no real point of difference to make it stand out from the rest of the pack.

David Elliot (Alex Pettyfer) has always had eyes for the beautiful and privileged, but extremely innocent and reserved Jade Butterfield (Gabriella Wilde) through their high school years. The two never spoke a word to each other until upon finishing school, a chance encounter at the country club which Davis works at uncovers the attraction between the two and when David comes to the rescue at Jade's graduation party, they are inseparable. However, Jane's overprotective father (Bruce Greenwood) is less than thrilled with his only daughter dating a boy with a troubled past like David who distracts her from her career path. Both their families soon find that nothing they do can keep David and Jade apart.

There is absolutely nothing original about Endless Love. Many have and will continue to question why the 1981 film even needed to be remade. You can almost understand why Shana Feste wanted to bring this tale to the screen once more, as the 1981 film hardly seems relevant or overly well known in todays society. This 2014 version has the inclusion of mobile phones playing a vital part of the relationship as is the case with relationships today, but the overall quality of the two films doesn't really differ a great deal. The earlier film wasn't and still isn't seen as a particularly critical success and neither is this film. In remaking this film you would hope that Feste was hoping to improve on the original, but the film is mediocre at best.

Endless Love is absolutely void of emotion. For a romance film to actually be successful (unless it has a comedy element to it), it has to be moving. This film is not as it just feels so weak. You feel no tension, sadness, happiness or anger throughout the film. The love between David and Jade is sweet, but not relatable or captivating. The real target audience for this film is that of teenage girls who will love the film because it will represent what they hope their first love will be like. For this audience there doesn't need to be any powerful emotions, just something that is light and fluffy and Endless Love is definitely this. The film has been released at the perfect time which is Valentines Day. So even though the audience that will get the most out of this film is younger, it will generate a wider audience who will be able to accept it's content. Whether Endless Love is a film of a high standard is almost irrelevant as it is appropriate either way for the Valentines time of the year.

There are some interesting choices in the cinematography here. There are various montages of the way David and Jade spend their time together. Some of these montages are worthwhile, but others (such as the firecracker scene) would have benefitted more from a continuous shot which would have enhanced the emotional impact of the film by understanding more about the relationship between David and Jade. This would have then led to a bigger feeling of disappointment and sadness for the two when things were not going as planned.

While not an emotionally charged film or a particularly well written film, it is actually a very well cast film. All the roles have the best actors for the part in them and it is a shame they haven't been given more to work with. The characters themselves are the best part of the screenplay as there is great character development for each one of them. Alex Pettyfer does well and gives no reason for people to dislike him. His David is very likable and you always believe the best about him in every circumstance. He and Gabriella Wilde work very well together on screen and physically look perfect as a couple. Wilde is extremely sweet and a perfect choice for the role of Jade with her angelic looks. Both Pettyfer and Wilde have moments where you feel they are on the verge of showing their true potential, but don't have the opportunity to meet that potential in this film.

Joely Richardson is wonderful as Jade's mother, Anne. She is the type of mother you would love to have in a situation you hate to see a good woman in. Bruce Greenwood is also very good as the possessive father, Hugh. He is extremely unreasonable, possessive and often emotionally detached from his family, qualities one would hate in an in-law. Yet with all these he is so interesting to watch. Robert Patrick, who plays David's father Harry, is also very good.

With Endless Love you don't get what you want out of a romance film. However, as it is a Valentines Day release, you can reluctantly accept it.

4/10

Winter's Tale (2014)

Year: 2014
Running Time: 129 minutes
Director: Akiva Goldsman
Writers: Mark Helprin (novel), Akiva Goldsman (screenplay)
Cast: Colin Farrell, Jessica Brown Findlay, Russell Crowe, Will Smith, Eva Marie Saint, William Hurt, Jennifer Connelly

Winter's Tale is now showing in cinemas everywhere and is distributed in Australia by Roadshow Pictures.

Even if you haven't read the novel by Mark Helprin, you can tell that Winter's Tale must at least a half decent book. Obviously a book does need to be somewhat of a success in order for a screenplay to be made out of it, but sometimes the film just doesn't reflect this success. Unfortunately, Winter's Tale is an example of this.

Somewhere in there is a great story to be told, but Winter's Tale doesn't do it any justice. It clearly doesn't work for the screen as well as it should and it is such a shame because it really could have been something so beautiful. There are some saving graces in some stunning visuals and some truly tender moments between some of the characters, particularly Colin Farrell's Peter and Jessica Brown Findlay's Beverly. Yet, the film forgets that it is a romantic fantasy film and focuses too much on explaining the romance and not the fantasy.

Peter Lake (Farrell) is an out of work, down on his luck orphan who has to steal from the houses in New York, where he lives in order to survive. By chance, the mansion which he chooses to steal from is not empty like he believes, but Beverly (Findlay), a sick young woman is at home. The two fall in love, but their life together is cut short when Beverly passes away in Peter's arms. However, there are stronger forces at work and this is not the end for Peter and Beverly and it isn't until many years later that Peter finds out why.

While watching Winter's Tale, you cannot help but feel that there are things you are not being told and if these things were worked into the screenplay, the film would make a whole lot more sense and be a lot more enjoyable. Director and screenwriter, Akiva Goldsman seems to want us to see Winter's Tale primarily as a romance, which it most certainly is, but the film has a large fantasy element which isn't explained clearly. With a fantasy film, details need to be crystal clear so that the audience understands exactly what is going on as nothing they are watching is assumed knowledge (unless you have read the book, which cannot be relied on). For most of the film, there is a confusion as to what is really going on in the film, which would normally be good in a thriller or mystery, but not in a fantasy/romance film. Goldsman chooses to focus more on the relationship between Peter and Beverly and the only explanation really offered about these amazing things taking place are that miracles happen. For most of the things that happen during the film this isn't really a comforting conclusion to feel, although it seems to be fine for the characters to accept.

Yet you can tell that Goldsman really wanted this to be an amazing film. No director wants their film to be anything but amazing, but Winter's Tale truly believes that it is more important than what it actually is. The dialogue is very pretty to the ears and does absolutely help add to the romanticism of the film. You do feel a sense of purity and sweet sincerity when it comes to the relationship between Peter and Beverly. However, there is still a complete lack of emotion overall, which is disastrous as there are so many scenes which could have called for tears. Some of the visuals are also completely stunning. In particular the contrast in the scenes in the snow with the black star filled sky is very effective and these shots are probably the most magical thing about the film. However, some of the special effects are not particularly life like and the editing in some of the scenes with Peter and Beverly is really quite mediocre.

Colin Farrell and Jessica Brown Findlay do not give particularly ground breaking performances, but they do work well together. The two do have great on screen chemistry and seem very natural in their love, even though they are in love after only one brief meeting as Peter feels like he has known Beverly for a thousand years (again not explained how). Farrell does do well in the emotional scenes he is given, particularly in the library scene with Jennifer Connelly's Virginia.

Russell Crowe is fine as Peter's arch nemesis, Pearly Soames. Again, this is a character that isn't given too much background and would be a lot more interesting if he was. Crowe himself is interesting in this film and his adapted accent is quite intriguing to listen to. Will Smith plays the Judge and is extremely miscast in this role. He really can't be taken seriously in the role and the lines he delivers when he is trying to be scary are unfortunately laughable.

Winter's Tale delivers as a romance, but forgets about everything else around it. A film with all the unmet potential in the world.

4/10

Diana (2013)

 

Year: 2013
Running Time: 113 minutes
Director: Oliver Hirschbiegel
Writers: Stephen Jefferies (screenplay) and Kate Snell (book)
Cast: Naomi Watts, Naveen Andrews, Douglas Hodge, Geraldine James, Juliet Stevenson, Charles Edwards

Diana is now showing in Australia and is distributed by Becker Film Group. Also now showing in the UK and opening in the USA on the 1st November 2013.

It's still too soon for a film about the late Princess of Wales. Or is it?

In all honesty, it probably isn't too soon. However, it may be too soon to look at her in the way which Diana does. Oliver Hirschbiegel's film is more an angst driven romance than the inspiring and heart-warming biopic many were hoping it would be. Even though it has been 16 years since that fateful night in Paris, Diana is still fresh in the people's mind and as much as the film believes it is doing her memory justice, it is not remembering Diana the way her admirers want her to be remembered.

Diana opens with a recreation of the now famous last CV footage of Diana, Princess of Wales (Naomi Watts) as she enters an elevator in her hotel in Paris. Two years prior to this trip to Paris, Diana embarked on a secret love affair with heart surgeon, Hasnat Khan (Naveen Andrews). While their relationship flourishes, Diana finds in herself the overwhelming desire to help those less fortunate than herself and becomes stronger, more confident and the Queen of people's hearts.

Diana certainly seems to be one of those screenplays that just seemed like a much better idea on paper than on screen. You can tell what the film sets out to achieve, which is to show the world a different side of Diana than they are used to seeing. Yet, if they wanted to see another side of Diana, it was not this side. Many have described Diana as resembling a Mills and Boon novel and this is unfortunately quite correct. It is a feeble attempt at a romance film as it is not suspenseful by any means and very slow and dull. Instead of being intriguing seeing Diana in a romance such as this, it is just awkward. It is almost a strain on your senses to watch someone as highly regarded as what Diana was (and still is) in some of these situations. It is true that there are the scenes where we see the Diana we love and remember such as comforting the children in the hospital and the mother at her son's grave, but even these scenes aren't particularly inspirational. However, seeing Diana out in the street in the middle of the night calling out Hasnat's name and running crying out of his apartment on more than one occasion just doesn't seem flattering for her character. In the film's defence, many Diana biographies have expressed how Diana could often be needy and was so eager to be loved, but Diana takes it to the point where she is just depicted as being a lovesick little girl, who then tries to do some pretty silly things as revenge. However, the film does know how to show how loved she was by the people and the film itself loves her very much.

Even as a love story and putting the fact that this is Princess Diana aside, it would be mediocre at very best. There really feels like there is no spark between Diana and Hasnat. The beginning of their relationship seems ridiculously rushed and there is no chemistry between them at all so it doesn't even seem realistic. The dreamy music accompanying much of the film doesn't aid the lack of romantic feeling either.

Royalists will also be disappointed. As the film deals with the last two years of Diana's life and well after the break up between her and Charles, there is barely any mention of the royal family and only a handful of lines muttered about her children, William and Harry. This is perhaps a good idea as it doesn't paint the royal family in a terrible light and avoids getting the film makers in trouble.

At the beginning of the film, you are absolutely convinced that Naomi Watts was the perfect choice as Princess Diana. She does particularly well when recreating the infamous interview with Martin Bashir. In this scene she is almost a replica of the princess. However, it is the scenes which Watts would have had footage to imitate that she is the most like her. The very sad news is that there are a great deal of scenes in the film where you forget that you are supposed to be watching Diana and all you feel like you are doing is watching Naomi Watts. When playing a historical figure such as this, the important thing to do is fool the audience into believing that they really are watching this person on screen. Watts does do this at times during the film and when she does, she is perfect. Yet, for the most part she is not quite believable.

It is interesting to ponder whether this film would have been at least a bit more successful had it been another ten or so years before it was made. There would have to have been a few adjustments to the film making techniques, but maybe people might have been a bit more open to seeing Diana in the way she is portrayed in this film. Maybe.

2.5/10


You may have also seen Naomi Watts in.....
The Impossible as Maria