On Chesil Beach (2018)

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Here is a reunion of sorts, as ‘Atonement’ star Saoirse Ronan and its author team up to tell the story of a young married couple. It’s a small scale tale and one that’s excellently performed, but it’s a film that comes across as quite bland.

Spending their wedding night at a hotel near Chesil Beach; are classical music player Florence (Saoirse Ronan) and country romantic Edward (Billy Howle). As they near the consummation of their marriage, it becomes clear that something could stand in their way.

The 1962 period and quintessential Britishness of the Dorset locations are prettily shot. Sean Bobbitt certainly gives the stretch of uncomfortable looking shingle a vague haunting quality. It also is a place of quiet yet heated reflection which becomes the setting of the revelation that stirs the pot and helps step the film narrative up.

Before this moment, I have to say the movie is quite a slow and dragging affair. There are some humorous moments and within the flashbacks of their courtship, it’s clear to see their adoration but they’re never totally interesting. There’s also the matter, that after the big moment, there’s two points in the plot that are so predictable. Luckily, I can forgive the expect record shop moment and the ending because they’re performed so well that my gut was punched and my eyes almost welled with tears.

Ronan is always an sensational actor to watch and that doesn’t change here. The way she plays the upper class and more stuffy frigid nature of her character is superb, you always buy into Florence’s pained fears of commitment. Howle, surprisingly, stole the film for me. I love Ronan as an actor but I was enthralled by his turn as Edward and especially in the later stages of the film I felt for him.

It’s not a clumsy film but it’s not exactly a serene picture-perfect one either. The acting from the two lovers are what keep the interests just above nap-mode. ‘On Chesil Beach’ comes across like a great Sunday afternoon watch, to have on whilst you’re enjoying a solid British roast dinner.

6/10

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Love, Simon (2018)

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Better late than never I guess, as I’ve finally gotten around to seeing the film that everyone was talking about, before the Marvel behemoth arrived. I’m so glad I’ve now watched ‘Love, Simon’ because it’s exceptionally sweet, greatly acted and shows diversity isn’t a token thing.

Simon Spier (Nick Robinson) lives a fairly normal American teen life, living with mum, dad and aspiring foodie sister. He also has a solid friendship group but he’s hiding a secret; this being that he’s gay. On a school social chat board, Simon sees that someone calling themselves Blue is also trying to juggle the pressures of his sexuality against friends and family. They soon email back and forth and Simon just hopes that he can uncover the mystery of who Blue is.

Obviously there are some moments within this, that effectively angle towards the emotional aspect of Simon’s dilemma, but the best quality is how spirited and uplifting this movie is. Greg Berlanti has directed a coming out plot, focusing on coming of age and the people around Simon are just as important in his decisions. Working with typical but immersive high school scenery, an eclectic soundtrack and a talented group of performers, Berlanti handles what could have been a soppy or cringey narrative with sincerity and light humour.

The film isn’t by any means a powerhouse movement for gay cinema but it’s long overdue, even if it landed with odd ‘aawws’ from girls in my screening when Simon comes out. Perhaps, that’s the problem, the film does feel a slight too sugary sweet along the way, which for me at least, lessened the dramatic notion of what Simon and Blue are going through.

There are fantastic moments of genius throughout the film, from teens telling their parents they’re straight, to an outrageously camp college dance number, to the drama teacher who was my personal favourite. She’s written damn well, firing great lines of comedy but showing a caring, take-no-prisoners side in a cafeteria scene that made me sit up and clap (in my mind of course, I’m British, I’d die of embarrassment causing a scene in the cinema).

Robinson is a revelation and is a million miles away from the performance I saw in ‘Jurassic World’. Here he balances great joy, pained uncomfortable revelations and genuine romantic chops that drew me in with ease. Alexandra Shipp is fascinating as the kinda new kid in the friendship circle. She also balances beaming moments of joy with a tougher side and seeing her story progress with the forced dates alongside Martin are stunningly acted. Josh Duhamel totally convinces as the little seen jock-cum-father with a soft side and a lack of technological know-how. Jennifer Garner also doesn’t feature much but when she’s on screen she knows how to grab your attention but not distract from Robinson’s performance either. A scene with her and Simon is simply shot but brings all the emotive weight necessary for that moment.

There are some iffy moments that didn’t convince me along the way, but all in all this is a really charming coming of age romantic story, sold by a superbly talented cast.

7.5/10

A Wrinkle in Time (2018)

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Universe travelling and diverse storytelling are on show in Ava DuVernay’s big budget Disney film, but the grand visual pleasantries to look at don’t override the ambitious scope and its ineffectual handling of the subtext.

Distracted and struggling student Meg Murry (Storm Reid) misses her father, after he randomly disappeared four years ago. Dr. Murry (Chris Pine) was a brilliant scientist and had possibly cracked the notion of teleportation and our existence. One day, three powerful travellers of the universe appear and take Meg, her brother and a school friend to Uriel in the hope of finding Dr. Murry.

I’ll begin with the positives because there’s a lot of negatives I wish to cover. Firstly, the visuals are splendidly colourful and some of the landscapes the characters visit, are lush and rife with stunning cinematography that looks great on the big screen. I liked or perhaps appreciate the bold ideas stemming from the 1962 novel; these themes of family, spreading love and ridding hate are nice enough and espicially with the state of things currently, I found those ideals hold up well but they did feel forced and/or twee. A sequence on a beach with Michael Pena was pretty good with the most tension I absorbed but, alas it was short-lived.

The main issue, I feel, is that the movie never seems sure of what it’s projecting and it heavily flits between moments of science mumbo jumbo that most children wouldn’t grasp and saccharine annoyance that adults will tire of. It’s as if the writers and director were trying to mix childhood fantasy with profound statements on life and love together, which never succeeds, sadly.

Attempts at humour fall massively flat and again feel forced, costume and make up on display from the three astral beings are impressive but they change without reason anytime they shift location, like the movie is shooting for an Oscar nod for Costume Design and Make Up and Hairstyling next year. Meg’s adoptive brother Charles Wallace is mega annoying plus the fact they can’t ever just say Charles becomes grating. CGI in places is less than inspired and wholly distracting in a cheap way, which is odd considering the nine figure budget behind this production.

Generally, I was never by hooked any of the film. Scenes that were obviously going for tension never felt like they were raising stakes. Even with the dramatic altering of the sibling relationship, I still felt bored with the story. I for sure lost my patience fairly early on with this movie which is a shame because there could have been something very special and triumphant about it all, instead of the restrained, sickly sweet and messy feature it turns out to be.

Reid is by and large another one of the only other positives I got from this film, she’s a powerful performer with an evident understanding of this hard subject material and how to portray Meg as a difficult, somewhat stubborn but loving and brave character. Oprah Winfrey delivers messages of hope, light and typical Disney fortune cookie tid-bits in a way that stirs quite nicely. Reese Witherspoon plays Mrs Whatsit, someone without much tact and still learning, she showcases that well but is another annoying factor, as is the performance from Deric McCabe as Charles. Just Charles. Mindy Kaling plays Mrs Who, but is all but pointless in a turn that mainly has her spouting quotes from scholars, playwrights and Chris Rock. Levi Miller is Meg’s friend Calvin who is extremely pointless and I never understood why he was there.

This is a Disney dud that I’ll try and forget in a hurry. There’s only tiny wrinkles in the run-time that kept me engaged but the majority is frustratingly bad.

4.5/10

Lady Bird (2018)

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Landing in cinemas finally with its UK wide release, is a stunning and heartwarming coming of age tale, expertly realised by both its cast and debut director Greta Gerwig, who captures and pens meaningful insight into the trials of growing up.

Sporting a red hair style and a pink cast on her arm, American student Christine ‘Lady Bird’ McPherson (Saoirse Ronan) is at a Sacramento Catholic high school trying to find her way and hopefully fly the nest to the East Coast and culture of New York. Her teenage way of thinking causes frictions with her mum Marion (Laurie Metcalf), who sees Lady Bird as being ungrateful. As the teenager tries to find her way, she may indeed find out how important her family is too.

For a debut writing and directing venture, this is almost solid gold from Greta Gerwig. She weaves in great moments of humour between sudden hits of emotion and poignancy, these ups and downs are reflective of the central mother-daughter dynamic and though it isn’t aimed at me, I still definitely connected to the story thanks to seeing how my sister and mum were and are. It’s this fantastic resonance that Gerwig ensures is consistent and truly believable.

Her directing is practically perfect, the choice to numerously have the camera tracking right to left on shots of places within the city help explore the setting nicely and by the end of it all we’re affected by this wonder, boredom and ultimately grounded connection to home. Gerwig gives this film a spirited exploration of adolescent angst with many fantastic confidently static scenes at home and school to illustrate the relatable turmoil of parent-child turbulence.

This is a film that made me and others laugh multiple times. The comedy of difficult teens and the setting of apparently boring Sacramento in 2002/3 is mined startlingly well. Nostalgia through visual fashion, prop decoration and music gifts this a palpable sense of reality and fits in with the same greatly moulded Richard Linklater world of ‘Boyhood’. As someone with a theatre degree I loved the scenes with drama games and warm ups, they’re on point and very funny indeed, especially a sports coach tackling show staging. The whole aspect of Lady Bird and her trouble to find a place in the strife of school social circles is fantastically scripted.

Fundamentally this is a narrative revolving around the often strained mother-daughter bond. They enjoy open houses, shopping and in-car cassette tapes but of course they have their sticky moments of arguments and troubled face-offs. Come the final frame of the movie, the emotional core of family and knowing where your roots are rings loud, though there are plenty of laughs, this is a film that made me tear up from time to time I must say.

Saoirse Ronan is splendid and her talent shines through in the titular role of a teenage girl living the highs and lows of joy, first loves, best friends, craving popularity and wanting nothing more than being out of her mums influence. It’s Lady Bird’s name, bold hair statement and arm cast that are worn like symbols of individuality as she hopes to understand her place in the world. Laurie Metcalf excellently plays the caring yet put upon mother and is convincing with pent up frustrations and maternal tensions that boil over at times. One scene with her near the end is so simply shot but she acts so well I don’t think there was a dry eye in the house. Tracy Letts provides gentle humour as the calm dad with a kind heart and his character is nicely fleshed out. Lucas Hedges I must commend on creating an impressive blossoming romance before his path is developed and a scene between him and Ronan outside a coffee shop almost rips your heart in two.

I’d say that nearly the entirety of this coming of age comedy/drama had me feeling warmly fuzzy and beaming widely as I watched. Family and home is important and this film comically and charmingly holds a mirror on that central theme.

8/10

Call Me By Your Name (2017)

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After missing out upon it’s initial release, awards hopeful ‘Call Me by Your Name’ returned to a cinema near me and though I liked the sun-drenched aesthetic, music and performances, I didn’t find myself captivated by the plot in any way.

In 1983, an American grad student called Oliver (Armie Hammer), spends 6 weeks of his summer at the Perlman residence to help with his paperwork. Seventeen year old Elio (Timothee Chalamet) begins seeing this outside figure as a nuisance but it moves forward to secretive hang outs and a blossoming first love for him to ride the highs and lows of.

Luca Guadagnino’s directive stamp on this is pretty stunning, The Great Beauty of an undisclosed Italian location is as ripe as a peach for beautiful moments. Sayombhu Mudkeeprom works with the director to create shots that are filled with yellow rays and highlight the glory of both Italy and this summer love. Closing Guadagnino’s ‘Desire’ trilogy, this is definitely a glorious and interesting melancholic yarn being spun; it’s without a doubt a much more engaging movie than ‘A Bigger Splash’, but again it’s a release that suffers with length.

I must admit I did in fact get quite bored during the late stages of the second half. In the first part, the setting, characters and music all get introduced very well but as the private romance begins, the film started waning and stretched almost into boredom for me, where I was just waiting for the obvious moment when the two would go their separate ways.

The main reason I feel like the later scenes distanced me, is because I never ever bought into their relationship. It’s meant to be this beautiful spark of mutual attraction but I didn’t once believe they loved each other. It felt like Elio was a kid infatuated and Oliver was taking on a summer fling; which makes the consequent second half and their sad parting…well not very sad at all. The story didn’t resonate with me in the way I expected it would, considering all the astounding reviews it’s been collecting recently. I in no way disliked the film, I just started tiring by the end and wouldn’t recommend it outright.

I did thoroughly enjoy the score, almost wrapping me up into the lush scenery of the film. A piano heavy backdrop of music works well in both providing a nice lullaby tone and mirroring the pianist skills of Elio himself. Sufjan Stevens gifts the movie three songs and Mystery of Love; which is in contention for an Academy Award, is like some calm water gently soaking over you as you listen. The song perfectly compliments the look and tone of the film.

Chalamet is a wonderful presence, at times presenting himself wrapped round Oliver, like the curved statues spoken of as displaying desire. He brings this quiet teen intellect to the character but you can see there’s a nervous unknowing to how his narrative plays out, which is quite fascinating to watch. Hammer possesses this goofy charm throughout the picture, a serene confidence to his character and the eventual relationship. It’s definitely one of his finer turns and I’m sold on his dance moves which are care free and delightful. Michael Stuhlbarg is in this and it’s a wonder, no, a crying shame that he hasn’t been up for a major award yet, because he most often is the best quality in a production, and in this he provides good touches of humour, believable dad advice and a calming aspect to run with the general calmness of the story.

‘Call Me by Your Name’ is an assured sweet film about the ride of first love and it’s summer tinged backdrop is a wonderful look to bolster the vivid exploration of Elio’s crush. I just wasn’t as taken by the story itself that’s all.

7/10

The Shape of Water (2018)

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The masterful and visionary Guillermo del Toro is back; with one of this seasons huge awards contenders, and frankly it isn’t too difficult to see why people have fallen for it. There’s a beautiful twisted charm throughout what can only be described as an odd Hollywood fairy-tale.

A mute janitor by the name of Elisa Esposito (Sally Hawkins), ends up cleaning a secretive room in a government facility. In here she discovers and learns more about this amphibian asset (Doug Jones) who she quickly connects to and falls for. It’s soon clear that this water-dwelling creature is in the midst of Cold War tactics and Colonel Richard Strickland (Michael Shannon) is laser-focused on doing no good to this being.

I never expected to see a film featuring an upright fish man and a non-speaking lead to incorporate elements of such love, engaging humour and aspects of classy glitz a la ‘The Artist’ and ‘La La Land’. Director del Toro has very nearly struck a fascinating gold mine with this film, one that certainly feels like his greatest storytelling achievement since ‘Pans Labyrinth’. I say very nearly because perhaps down to my own over-hyping of this feature, I found the movie to not always keep me immersed and the obscure romance/will they, won’t they element isn’t anything majorly refreshing, even if the romantic partner is green and scaly.

Aside from those points, I found myself enjoying almost the entire run. The cast of characters are believably written and wonderfully acted. There is a healthy mix of fairly absurd comedy to be found considering the subject of this film and what people say is cleverly scripted to elicit humour. The swelling score helps this film feel like a piece of stunning movie-making from a bygone era of classic Hollywood, this can further be realised with the production design of Elisa’s neighbours’ apartment and the numerous visuals of black and white reels on screens. As you might expect with a del Toro picture, there are moments of wincing gore that definitely do their part to make you squeam.

What I think is the best quality in this Cold War set romantic fantasy, is the enchanting rapture of the world we’re presented with; the people within it, the places and the central heart shaped pairing, all mesh together to create inspiring choreography of adoration for movie monsters and Hollywood of old. I don’t know about everyone because this film has been picking up some negative jabs , but for me at least, without any real doubt I can say I was won over by the stylish spin on a love story…and by the glorious amount of key lime pie!

Hawkins gives such a lovely presence throughout, practically saying nothing she manages to tell the story through a spellbinding emotive performance. There’s almost something other-worldly about her and I think she’s the perfect fit for this role. Richard Jenkins is a gem of an actor and character within this movie; he brings great levity, kindness and a loneliness too. Shannon is always someone I enjoy watching and here he has perfect menace in his eyes and a hell bent drive to his narrative, that pretty much only Shannon could muster. Jones is del Toro’s go to guy for making beasts come to life and though it may be no epic Pale Man creation, this amphibian figure splashes with an enamouring touch. Michael Stuhlbarg and Octavia Spencer are incredible supporting players who have their own moments to shine; in both aiding Elisa’s plot and within their own great scenes.
It may not be the winningly dazzling film I hoped it would be, but it’s certainly a film with visual flair, a film I’d re-watch and a film with classical romance flipped upside down and submerged in the wondrous waters of Guillermo del Toro’s mind.
7.5/10

Phantom Thread (2018)

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Like a fine piece of silk or a masterfully woven garment; this film is a stunning look at the toxic ups and downs of an odd relationship. It’s also, as expected, another fantastic showcase of acting from method man Daniel Day-Lewis.

Reynolds Woodcock (Daniel Day-Lewis) is a dressmaker who enjoys his time and order, he lives with Cyril (Lesley Manville), his sister who has grown used to the ways of her sibling. Reynolds falls for a young waitress one day and she becomes his muse and model, she is in love with him but Alma Elson (Vicky Krieps) sees that this is a relationship with differences and difficulties attached.

The whole film has a delicate touch, as if being handled by a careful seamstress itself. In any other hands I could imagine this story being slow or maybe even boring, but with Paul Thomas Anderson in charge it feels like almost perfect direction. PTA conjures up an effortlessly classic narrative that is filled with wit and visuals of beautiful design. He’s directed and written a wonderfully engaging product with stitches of humour sewed in greatly; which I wasn’t expecting when I first saw the trailer.

Breakfast clearly is the most important meal/time of the day for Mr. Woodcock; his ordered quiet he desires is seen on numerous occasions and when that calm is disturbed he becomes an animated and viciously spoken gentleman. What works so well, in character traits like this is the sound design within the film. It highlights the grating noises that he detests, such as a knife buttering toast or pouring tea, I found it an enhanced quality of sound that really brings focus to the character’s head space.

The lengths someone will go to, in a strained play of wanting attention and love becomes a significant thread; which is fascinating to watch unfold. It even gives the movie almost thriller aspects of darkness as their pairing moves forward. It’s in some of these lengths that the film does, for me at least, feel like a tiny drag. After the hour mark and one big step in their relationship, the movie feels slightly stretched and the bookend scenes are somewhat of a cliche but this is just me messily unpicking the tapestry of a film that has next to no weaknesses.

It may not be his best turn but Day-Lewis is a revelation as most would come to expect by now. There’s a charming intellect to his character and he plays with that quite a bit which provides some of the surprising many laughs. He touches greatly on the irritable and sassy side of this designer too and you can almost fear Reynolds in his concrete way of wanting everything to his perfecting standards. Krieps is stunning as this blossoming figure who grows into herself, firstly thanks to Reynolds’ aid but then down to her own self belief and desire. She too acts the comedy moments well, her loud quirks that annoy Woodcock are bliss. The two of them together work amazingly and concoct a truly believable strange yet mesmerising relationship. Manville says practically a thousand words with just a brilliant glare and she brilliantly equals Reynolds’ sharp tongue. On the other hand she has a nuanced display of her softer side in the growing adoration she feels for Alma.

I knew this would be a beautiful film but I wasn’t expecting to get wrapped up in it as much as I did. There’s great bursts of relationship-led comedy and well executed romantic tension that swirl and tumble neatly into a masterful entrancing design.

7.5/10