I Feel Pretty (2018)

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Sigh. I mean first of all, let me say that I’m not an Amy Schumer fan, so going into this was always likely to lead to pained reactions. In that sense, this film isn’t a disappointment because it is painfully unfunny and a right drag to complete.

Renee (Amy Schumer) helps control the website for a major cosmetics company, but she’s hidden away in a basement and on top of this she’s getting increasingly annoyed at the way society views woman who don’t conform to the stereotypical attractive ‘look’. After an accident at SoulCycle, Renee comes around and thinks she’s changed and become the typically gorgeous woman she always wished to be, but to the bemusement of those round her because she looks exactly the same.

Obviously this film is squaring on a message of powerful self identity and appreciating yourself no matter how you look or what others think and say, which is all well and good but there’s times when it doesn’t follow that road with great conviction and other times when it slams the audience over the head with excruciatingly on the nose dialogue, time and time again forcing the values home, of loving who you are.

The above issue of overbearing and patronising writing to deliver a theme wouldn’t be so bad, if we were at least distracted by some great moments of comedy, but there is none of that to be found. I didn’t laugh once, I counted 9 others in the screen and not one of those watchers laughed or chuckled either. It’s just so boring and seems to rely on the incessant yammering of Renee which is more annoying than amusing. As with Melissa McCarthy movies, these two female performers tend to literally fall back on the uninspired method of prat falling to try and elicit laughter….and I ain’t biting.

I don’t doubt that Schumer has talent and can be charming, but her turn as Renee is horrendous and she’s almost the villain of the piece because I just couldn’t ever connect to her or like her. There’s a couple of places near the beginning where Schumer is fine to watch and made me think this movie could be alright but then it gets worse. Michelle Williams? Yes, why is she in this, again at first I thought she could be great, a kind of Jesse Plemmons in ‘Game Night’ comedic supporting character, but she loses any of her icy fashionista aura and her child-doll voice gets ever irritating.

As said, this was never going to be a film for me, but then it’s great when a movie can subvert expectations and all films should possess that chance. This one never ever gets close to the chance of becoming a fun or funny watch. By the end of it, I Felt pretty close to falling asleep.

2.5/10

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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

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

Film Stars Don’t Die in Liverpool (2017)

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This was a film that likely would have passed be my; I hadn’t seen a trailer or knew anything about this, but I’d call it a hidden gem because it’s just wonderfully made harking to the Hollywood of old.

After falling ill before a stage performance, former silver screen actress Gloria Grahame (Annette Bening) wishes to stay at the house of Peter Turner (Jamie Bell) and his kin. Turner and Grahame had been in a relationship for the last two years or so and we see their up and down romance throughout the movie.

Based on a memoir from Peter Turner himself, this romantically themed drama is extremely engaging. Firstly I must comment on the utterly believable relationship between Bening and Bell. This old/young romance never feels wrong, strange or make believe, there’s a genuine affection and attraction built between the actors that helps the film along. The film delves back and forth between her at the house in 1981 and her meeting Turner in 1979, the transitions to and from these moments in time are quite clever and give it an almost one take theatrical vibe as if moving scenes forward on a stage.

For my sins, I had no clue that the glamorous performer in question was actually based on a real actress from the heyday of Hollywood. This only made the story more impacting as I came to realise the true account running through the narrative. I liked to think I know Oscars and actors but I obviously need to brush up on the glitz of 40’s/50’s stardom. It’s this pizzazz and studio based ideal of talent and fitting into a mould to sell pictures that gives Gloria real depth and vulnerability as you see her clinging on to youth and wanting to be loved.

There are some aspects in the film that are predictable and you know what someone may say or what characters will do and a sequence you see from one perspective gets re-shown from the other side with a healthy dose of melodramatic strings rising and clear emphasis on trying to make you emotional, almost cheesy I could say. There’s clear green screen in use for places like New York and beaches of California but they’re apt in a way for this film about acting, gifting the whole feature a movie look as if we’re seeing their memories as glances on a film reel.

Annette Bening better get recognised come awards season, if she’s not up for an Oscar then a Golden Globe at least because she is sublime in this. The mannerisms and the way she talks are an almost sweetly yet seductive Marilyn Monroe quality and she carries confidence and false confidence in equal measure. She completely buries herself into the role and I bought her turn as Grahame hook line and sinker. Jamie Bell gives Turner great care and love, you buy into this man that isn’t much of anything, a success or triumph but a funny, interesting and kind guy who cares deeply for this enigmatic presence in his life. He plays opposite Bening with convincing ease and they’re both fantastic together. It’s great seeing Bell reunite with Julie Walters who dons a Scouse accent rather well and brings that expected and needed heart and comedic touch. I also want to comment on the much too short but almost scene-stealing turn from Frances Barber who plays Gloria’s sister. The icy stares and sharp tongue were brilliant.

This is a film that doesn’t seem to acknowledge the intelligence of its audience with predictable moments and repeated scenes driving home points we’d already gathered but it’s a special movie with a fragile soul beautifully illustrated by the exceptional performances from Bening and Bell.

7/10

Baby Driver (2017)

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4 years since the pub crawling finale to the Cornetto Trilogy, Edgar Wright returns with an adrenaline soaked beauty.

Wright is back with his signature stylish/comic aptitude and this time applies his directorial genius to a project with bigger action and bigger thrills. Atlanta becomes a playground for him as he shows off a satisfying masterful handle on the genre of heists, car chases and Bonnie and Clyde-esque dramatics.

Baby (Ansel Elgort) is a smooth, superstar getaway driver who’s tied to working for shady Doc (Kevin Spacey) who brings together differing personalities to carry out robberies. It happens that Baby is permanently listening to music winding up the likes of Bats (Jamie Foxx) and others but this trait of his is no weakness and also helps him strike up conversations with waitress Debora (Lily James) who could end up in danger the closer she gets to the mysterious music man.

Usually I leave the music chat til later on and focus in on plot and style, but this movie isn’t anything (or much of note) without the music it offers. The soundtrack is one of pure delight and boosts the movie an incredible amount of energy. The effortless car choreography is amped up further thanks to the loud and proud songs throughout. It’s no lie to say that every escape moment whether on foot or behind the wheel made me sit up and smile like a buffoon because they’re just so fun to watch with a finesse that’s hard to ignore.

That’s not to say that if the songs were wiped off then the movie would be terrible, it would just be mediocre and quite possibly forgettable. It’s the choice of the iPod playing such excellent music that this film is the stylish marvel it is. The editing too must be mentioned because it’s like every motion is clipped and fitted to coincide with the change of artists from T.Rex to Queen.

Detail is everything in Edgar Wright movies, he displayed that in ‘Scott Pilgrim vs. the World’ with comic book styling adding a zany and cartoonish look to almost every frame. This is the case again, for example, the opening credits feature Baby on route to fetch coffees and the song lyrics playing in his buds litter the backdrop from posters to graffiti in such a cool way. The look of the film is very retro America, from the locations and fashion. The characters are outlandish and cartoony but also provide a very real sense of threat when the movie needs to shift to the necessary air of tension and drama.

Strangely, amongst all the skids, sirens and shots fired in this killer feature, there is a sweetness to be found in the central relationship between Baby and Debora. It does admittedly feel left out sometimes and grows to a love before you know it but it softens up the film nicely and Lily James helps give a radiant glow amongst the sharper carnage of every other character. Hell, there’s sweetness to be found with Baby and his foster father.

The only teeny critiques I have with the film is there were a couple of times it lulled. The ending was perhaps twee and could have ended a slight nudge earlier and it is mostly the music that makes this film. It’s no five star baller but it’s so damn close.

Elgort is a tip toe away from arrogance that you don’t like him but there’s enough charm and intelligence to his character that you keep on his side. James as mentioned gives the movie a romantic and soft touch, the scene with her and Baby in a laundromat is another creative and stylish moment that stands out and sets up their connection nicely. Foxx is cool but clearly unhinged and provides the narrative its more tense moments. Spacey flits between good and bad and heck if you know what his motives are as only Spacey could in such a confident manner. Jon Hamm and Eiza Gonzalez are a perfect crazed Romeo and Juliet of weaponry and love. Everyone has a moment to shine with a script by Wright that is funny and fierce.

Go see this because it’s truly something you won’t be seeing anything like for the rest of the year. It’s a jacked up joy ride and one you’ll enjoy being in the backseat for. Hold on tight!

8.5/10