Movie review: Fifty Shades Freed

Movie reviews

Hey…there,

Creeped you out yet? That’s good because, oh my dear lord, here we go. This is Fifty Shades Freed. While I did not review the previous two films in the franchise, in honor of its end, I decided to sink my teeth into the last chapter.

IMDb summary: Anastasia and Christian get married, but Jack Hyde continues to threaten their relationship.

Writing

Fifty Shades Freed was written by Niall Leonard, based on the book by his wife’s E.L. James (an author as territorial about her work as her main character is about his partner – if u don’t know what I’m talking about and are interested, read up on the behind the scenes conflict between James and the director of the first film Sam Taylor-Johnson). Now, I’m not proud to admit but I have actually read the books as a teenager and had a good laugh with friends about them. I didn’t really think that they were worthy of or appropriate for cinematic adaptation, but Hollywood doesn’t care about ethics or quality when the prospect of a big paycheck appears on the horizon.

Anyways, my general thoughts on the writing of this franchise have always been twofold. I thought that it was a good thing that Fifty brought BDSM culture into the forefront and the mainstream conversation. What I always hated was the fact that the dominant-submissive relationship never ended when the bedroom’s or the red room’s door were closed: he was creepy and stalkerish IRL too and she seemed to be fine with that. Her reactions to his actions were even more infuriating than his actions themselves. Although, I guess, in this film both of them were jealous and territorial, so maybe they were truly meant for one another.

Speaking about the script of this film: it was fine (bear in my mind that my expectations were extremely low). Freed sort of had two storylines (if you can call them that): the love story and the crime thriller sideline.

Now, the love story was always the backbone of this series, though, what the filmmakers have failed to realize time and time again was that Anna’s and Christian’s relationship was never strong enough to mount the whole plot on (let alone the plots of three movies). Also, while these films (including the last one) really tried showcasing a modern love story, they always ended up playing into the same gender roles and even worse, cliches. Moreover, in this film, the Greys’ romance wasn’t even the only love story (maybe the filmmakers did realise that it wasn’t that great or that there wasn’t anything more to do with it, except to fabricate some shallow and senseless conflict) and an attempt was made to do something with the brother and the best friend characters. Still, I do have to admit that Anna and Christian did share a few sweet and romantic moments, which I think usually get lost in a lot of reviews, but I’m trying to be fair for this movie, so I’m mentioning them.

Anyways, on the thriller side of the movie, things weren’t great either. The thriller plotline lacked exposure and sort of disappeared in the second act before reappearing in the third act when the screenwriter suddenly realized that he needed to close this movie (and the series) with a bang (or at least with an attempt of a bang). Also, the finale really tried to show Anna as independent and resourceful but I think it might have been too late for that.

On the humor side, Fifty Shades Freed had two types of jokes. Firstly, it had those absolutely laughable moments that made no sense (‘let’s have a car chase sequence and then have sex in the car’). The second kind was actually funny moments that came from the film’s awareness about its own silliness (like the exchange ‘Restrain Him! I don’t have anything! Oh, we do! I mean, I can find something…’).

Directing

Fifty Shades Freed was directed by James Foley (he did Darker too and has also directed Glengarry Glen Ross – what a range in the filmography). I guess he did an okay job. The glamorous lifestyle was neat to look at (some quality Audis and nice outfits on display). The pop soundtrack was good too (I did like that they reused ‘Love Me Like You Do’ cause it was such a huge song from the first film). The sex scenes were… well… sex scenes (I’m not analyzing them, pervs). What I will say is that I’m not happy about the inequality in the nudity of this film. Lastly, Freed concluded with the summary sequence, so if you don’t to watch this trilogy but are interested in what the fuss was about, just look up that clip when it ends up online.

Acting

Both Dakota Johnson (Black Mass) and Jamie Dornan are good looking actors, so I do see why they were cast in this series. What I’m sad about is the fact that the two of them are actually quite amazing actors but one cannot really see that in this series. Having said that, while the duo has become infamous for having no chemistry in the previous pictures, I did somewhat believe their relationship in this one. That’s probably because this was the last film and they were genuinely happy to be done with so it appeared that they were actually happy to be Mrs. and Mr. Grey. Anyways, I hope that both of their careers can survive the damage of this franchise.

On the supporting front, there really isn’t much to mention. A bunch of actors like Rita Ora, Bran Daugherty (who went from background actor on Pretty Little Liars to a sideline character on the big screen – progress?), Eric JohnsonEloise MumfordLuke Grimes (The Magnificient Seven), and Arielle Kebbel appeared and sort of just stood or ran around in the background. They served the purpose of the movie, I guess.

In short, Fifty Shades Freed was what it was. If you liked this series, good for you. If you didn’t enjoy it, sorry that you spent money on it.

Rate: 2.5/5

Trailer: Fifty Shades Freed trailer

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Movie review: Phantom Thread

Movie reviews

Hello!

Welcome to one the last awards’ movie reviews. This time around, we are discussing Phantom Thread!

IMDb summary: Set in 1950’s London, Reynolds Woodcock is a renowned dressmaker whose fastidious life is disrupted by a young, strong-willed woman, Alma, who becomes his muse and lover.

Paul Thomas Anderson

Phantom Thread was written and directed by Paul Thomas Anderson, known for such films as Magnolia, Boogie Nights, Inherent Vice (which I’ve finally watched and was confused by) and There Will Be Blood (my favorite picture of his). His direction for Phantom Thread was very particular (and, in a way, quite spectacular). The writing was also very specific and, while I, personally, found a lot of problems with its content, I could also see how other people might have been fascinated by it. Let’s begin!

Writing

Phantom Thread’s narrative was, at its core, a love story, albeit a twisted and toxic one. The portrayal of such a love story was my main problem with the film. I have seen this movie described as a true representation of what it is like being in a relationship with an artist. To me, this looked like a situation, in which the film’s supposed authenticity of representation was used as a poor justification for the toxic relationship of the characters. Also, the assertion of authenticity raised another problem in my mind: according to this film, artists are borderline divine deities, to be sheltered and protected. In my worldview, artists are humans: flawed individuals rather than godlike figures to be privileged and raised above everyone else.

Going back to the love story, I couldn’t buy its progression. The female character stared the film as timid and quiet and seemed to be perfectly happy to be in an abusive and strict relationship. However, then she changed into a femme fatale (went from 0 (every second word from her mouth in the first half was ‘yes’) to Christian Grey levels) and attempted to reassert some power/or even take full control of the relationship by using quite deadly means. Where did that change come from? I did not see any hints at it at the beginning of the film! Also, if deciding to play-up the female character as this quiet but deadly individual, why not have the whole tonne of the movie be a bit more cynical and sinister rather than romantical? The changes in tonne would have made the whole shift seem a bit more possible. Also, was her goal to lower his defense mechanism really the only thing driving her forward? Or did she just want to weasel herself into his business and was basically a gold digger?

The male character was equally awful. He was privileged, pedantic, ridden with mommy issues (which were never really explored, just mentioned), demanding, superior without any good reason, obsessive, pretentious and controlling workaholic. Was he like that because of a mental illness or was he just an awful human being? Did his eccentricities really make him remarkable? I found that assertion quite questionable. Also, what did he see in the female character? A person to love, a prize to desire or a great model for his clothes/a real life dressmaker’s dummy?

The two ideas of writing that I liked the most (or the only two I liked at all) were the assertions that clothing is powerful and transformative and the character of the sister. Her jealousy of the new girlfriend/wife was a bit weird but I did like the fact that she was done with her brother by the end of the film and experienced growth – escaped the cycle that the other two characters remained stuck in.

Directing

Phantom Thread looked like a 1950s movie with its blurry and grainy visuals and soft colors. The designs themselves were beautiful but they also seemed very much of their own time – old rather than classical (time-transcending). The picture was also really slow, and since the story was either angering or extremely unengaging for me, I felt that it dragged more than a few times.

Acting

The two lead actors – Daniel Day-Lewis and Vicky Krieps – did a good enough job portraying the character. But, as I found their characters atrocious, I couldn’t really enjoy the actors’ performances. The chemistry between the two actors was interesting. I didn’t see it as positive but rather more confrontational and sometimes awkward, uncomfortable to watch. I don’t think this was Day-Lewis best performance and I certainly don’t think he should retire after it. For Krieps, this was her English-language debut (or one of the first few roles in English) and it was not necessarily the most successful one.

 

 

In short, Phantom Thread was a beautifully shot film, whose writing left me confused and annoyed. Might just be a personal thing, though, as a lot of critics seemed to have loved it.

Rate: 3/5

Trailer: Phantom Thread trailer

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Movie review: Basmati Blues

Movie reviews

Hello!

Welcome to a review of a movie you have never heard of. I only really find out about it when I was buying a ticket to its screening. This is Basmati Blues.

IMDb summary: A brilliant scientist is plucked out of the company lab and sent to India to sell the genetically modified rice she created – which she doesn’t realize will destroy the farmers she thinks she’s helping.

Writing and Directing

Basmati Blues was written by Dan Baron (who also directed the film), Jeff Dorchen, and Danny Thompson. These filmmakers either don’t have anything else or anything worthy of note on their IMDb pages. Also, they have made this movie back in 2012-2013 and it has been kept from release for 5 years (definitely for a reason(s)). Even now, it has only been released in a handful of countries (either in the cinema or on DVD). I think that the US premiere date is still a couple of months away and even when the picture does come out, there won’t be any advertising for it. So, how bad is it?

Story

Basmati Blues has been justified online as Hollywood’s homage to Bollywood. That justification was an answer to the critique that the movie was just appropriating the culture of India. Whether that was truly the case, I’m not entirely sure. The film seemed to be a somewhat collaborative project between the East and the West (based on a mixture of English and Hindu names in the credits), while the familiar Bollywood traits – songs, dances, bright colors, slapstick humor – seemed to have been celebrated in this picture. Nevertheless, the movie’s lead and the villain were white. The shades of the white savior narrative were present too (at least the said saviour wasn’t male so maybe that’s better? It isn’t). The idea that farmers in India would be so trusting of a Western corporation was just plain stupid. People from the East have little reason to trust the West and, if the West still doesn’t get why, we are gonna be stuck in the current global relations for a long time.

Anyways, even if you divorce the content of the film from its context, it still had problems. The fact that it was sort of a musical about science (at least in the beginning) seemed like a bizarre combo. The villain was so cartoonish – his whole evil corporation belonged in a Sunday morning animation (and he wasn’t cartoonish in a right way for the performance to be seen as a parody). The main character was annoying too – she seemed to be highly intelligent in the lab but clueless about the world, the different cultures, and just life in general. The love story aspect was cliche, cheesy, and predictable (really Hollywood-y). I guess at least from the structural point of view, the film was well-written as the plot ideas that were introduced during the first act, did come back in the third (the horse, the monkey seeds).

Visuals and Music/Dance

Basmati Blues looked okay. The views of India were nice, but then again, I could have watched a documentary to see more of them. A lot of noticeable green screens were used for musical numbers. The numbers themselves were fine. The songs weren’t that catchy and I wanted to see more choreographed dances. Again, I should probably watch a true Bollywood film rather than a Hollywood knockoff to see the things that were lacking here. Genre-wise, Basmati Blues have been classified as a comedy and while it certainly had intentional moments of humor, I was mostly laughing at the unintentional ones (which is both bad and good).

Acting

One person who wishes this film would never come out is Brie Larson, who played the lead. She wasn’t awful in the movie but she also wasn’t great. Her performance here is a far cry from her outing in Room (for which she won an Oscar) and I don’t think that it comes close to her other films either, like Free Fire, The Glass Castle or even Kong.

Somebody who should be even more ashamed of their work on this movie is Donald Sutherland, who was literally a cartoon villain. He recently played a very distinct villain in The Hunger Games but in that franchise, he had a layer of menace and sophistication. I don’t know what he was going for in this film.

The two romantic leads (cause, of course, there had to a love triangle) were played by Utkarsh Ambudkar (TV actor) and Saahil Sehgal. Both of them were as good as the script allowed them to be.

 

In short, Basmati Blues was either Hollywood’s homage to or appropriation of Bollywood. No matter which side of that argument you stand on, I think we can all agree that the final project wasn’t great. And yet, if you are somebody who can enjoy a movie ironically, you might find Basmati Blue hilarious, absurd, or both.

Rate: 2.7/5

Trailer: Basmati Blues trailer

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5 ideas about a movie: Film Stars Don’t Die in Liverpool

Movie reviews

Hi!

Welcome to a review of a film with the best title ever. This is Film Stars Don’t Die in Liverpool.

IMDb summary: A romance sparks between a young actor and a Hollywood leading lady.

  1. Film Stars Don’t Die In Liverpool was written by Matt Greenhalgh (the British cinema writer). As the name suggests, this was a film about the movie business – a genre, that I, as a cinephile, am very partial too. However, the picture was also so much more than a love letter to cinema: it was also a survival story (not the best example on how to treat one’s cancer or any other serious illness), a faithful biography (it was based on the memoir by Peter TurnerJamie Bell’s character in the movie), and a timeless romance with a contemporary couple (these type of age dynamics in a couple – older woman/younger man – are still treated as an abnormal).
  2. The movie also explored the idea of growing old but staying old. It also mentioned bisexuality in the 1970s-1980s but didn’t dwell on that plot point. The film was set in the meeting point between the celebrity and the real world, which was an exciting boundary to consider. It also drew an interesting parallel between this real live romance and Shakespeare’s Romeo & Juliet. The narrative’s structure was also unusual: the movie’s story unfolded over the two time frames (past and present) and that allowed the story to have more an emotional impact, which stemmed from the contrast of the happy past and sad present.
  3. Film Stars Don’t Die in Liverpool was produced by Barbara Broccoli (longtime producer of the James Bond films) and directed by Paul McGuigan (he has directed some episode of Sherlock and Luke Cage as well as the movie Viktor Frankenstein). The visual transitions that McGuigan crafted between the aforementioned time frames, were quite beautiful and inventive. However, the CGI locations looked quite fake and took me out of the film more than once. The pacing was also really slow so the viewer had to be interested/invested in the story to keep watching. Lastly, I loved how the director replayed the same scene from two different perspectives and completely altered its meaning.
  4. Annette Bening (who has had a long and fairly successful career but only appeared on my radar last year with 20th Century Women) played the lead actress and was really great. Her actress character was portrayed as a bit of a stereotypical Hollywood celebrity – selfish, a bit aloof, and deeply insecure. This didn’t necessarily make her the most likable but certainly an interesting character. I loved the shots that focused on her makeup routine – they powerfully underscored the importance of the outer appearance of actors.
  5. Jamie Bell played the male lead of the film and was absolutely brilliant. I only remember seeing him in Fantastic Four where he didn’t have much to do, so I was quite blown away by his dramatic talents on display in this film. However, he has previously worked with Lars von Trier on Nymphomaniac and was also in Snowpiercer, so I think I should have known how good he was.

In short, Film Star Don’t Die in Liverpool was a lovely biographical drama with a real-life cinematic love story at its center.

Rate: 4/5

Trailer: Film Star Don’t Sie in Liverpool trailer

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Movie review: Call Me By Your Name

Movie reviews

Hello!

Another awards’ contender has landed in theatres! This is the review of Call Me By Your Name.

IMDb summary: In 1983, the son of an American professor is enamored by the graduate student who comes to study and live with his family in their northern Italian home.

Writing

Call Me By Your Name was written by James Ivory (a writer and director of mainly indie dramas), based on the book by Andre Aciman. To begin with, I’m sure that the LGBTQ+ focus of this film will automatically mean that it will be compared to the big awards winner of last year – Moonlight – especially since Call Me By Your Name is also supposed to get at least nominated. I believe that this comparison is quite unfair because, even though both movies tell coming-of-age stories of young men, exploring their sexuality, the circumstances and the details of their stories are vastly different (race, class, time period, location, community – all these aspects of the two movies are on the opposite sides of the spectrum). Other topics of discussion, which will surely arise in the popular discourse, are the questions of consent and age of consent. I can already see the online fights brewing, with minimal productive arguments about legality and morality, and full of trolls who just want to see the world burn.

Anyways, I, personally, loved a lot of aspects of the writing. To begin with, I liked the settings of the movie quite a lot, both the spatial one (Italy) and temporal one (the 1980s). Both of these places/times posses a feeling of freedom and history mixed with timelessness – almost a fairytale-like setting, perfect for a story of first love. And the said romance at the center of the movie was written beautifully and richly. The film explored the interplay between masculinity and sexuality, sensuality and sexuality, innocence and maturity, and emotional love and physical love. It touched upon the ideas of art, creativity, and self-expression. It portrayed the teasing and flirting stages of the relationship so purely. Call Me By Your Name also examined both the development of its main character’s personality and sexuality, e.g. wanting to be with Oliver and/or wanting to be Oliver (copying his mannerisms (‘Later’) and style (sunglasses, shirts, the pendant of the star of David).

The movie also presented an unheard of example of accepting parents. It was so refreshing to see parents being so nonchalant about their child’s exploration of his sexuality. That final speech of the father was one of the best written fatherly wisdom scenes ever. My few criticisms regarding the picture were: 1) it was a bit too long. I know that it was made to be long so as to build up the stronger connection between the characters and the viewers but I also believe that this connection could have been created through a few quality scenes much better than through a bigger quantity of mediocre ones. 2) I also would have loved to see the film interrogate the role of women in this instance, whether as supportive friends or ‘girlfriends for show’ a bit more.

In short, ultimately, Call Me By Your Name was a gorgeously written sad love story full of moments of hope and happiness and what can all of us ask more of life than brief moments to enjoy?

Directing

Call Me By Your Name by Luca Guadagnino – an Italian film director, best known to English-speaking audiences for his 2015 film A Bigger Splash with Tilda Swinton (a longtime collaborator of Guadagnino). He directed the film absolutely beautifully. Call Me By Your Name looked raw, rough, and unpolished – an example of natural beauty. The handheld camera brought the vibrancy to the film, while the close-ups helped to create an intimate and personal atmosphere. The lingering shots strengthened the emotional impact.

In addition, Call Me By Your Name explored the male sexuality by looking at the male physicality: the male bodies and their parts were at the center of the camera’s gaze. The topic of bodily physicality was continued with the inclusion of the sculptures into the movie. Some scenes were quite explicit and not the most comfortable to look at (*cough, cough*, peach). Other images were just beautiful and deserve to be framed in an art gallery. The closing image of Elio, looking at the fire and contemplating his experiences, was just so striking and a perfect visual to finish the film with.

Acting

  • Timothée Chalamet, who has previously appeared in Interstellar as well as some lesser-known indies, was absolutely brilliant as one-half of the main pair. The other half was equally brilliantly played by Armie Hammer, who is finally getting the recognition he deserves as an actor. He has experienced a relative level of success with The Social Network and J. Edgar and I also quite liked him in The Man from U.N.C.L.E., Nocturnal Animals, and Free Fire, however, I believe that Call Me By Your Name will be his ‘big break’ and maybe even get him an Oscar nomination. Chamalet absolutely deserves one too.
  • The supporting cast of the film was quite small and didn’t have much to do. However, the aforementioned moment of fatherly wisdom would not have been the same without Michael Stuhlbarg (Doctor Strange, Arrival) in the role of the father. It was also lovely to see some European actors joining the American talent on screen, namely Amira Casar (in the role of the mother) and Esther Garrel (who played Elio’s friend).

In short, Call Me By Your Name is an emotional, beautiful, and raw drama about love and finding oneself through it.

Rate: 4/5

Trailer: Call Me By Your Name trailer

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Movie review: Battle of the Sexes

Movie reviews

Good evening,

My BFI London Film Festival series of reviews (it opened with Breathe) continues with Battle of the Sexes – another potential awards contender for the year!

IMDb summary: The true story of the 1973 tennis match between World number one Billie Jean King and ex-champ and serial hustler Bobby Riggs.

As a side note, before the actual review begins, I just wanted to tell you about a different tennis movie that already came out this year and left me pleasantly surprised. It’s Borg vs. McEnroe and I suggest you check it out! Onto Battle of the Sexes!

Writing

Battle of the Sexes was written by Simon Beaufoy (who is known for writing such movies as Slumdog Millionaire127 HoursSalmon Fishing in the YemenThe Hunger Games: Catching Fire, and Everest) and the film’s script was inspired/based on real events.

Battle of the Sexes tackled/portrayed two big concepts – the LGBTQ+ identity and the feminism/women’s rights. Sadly, both of these thematical spheres are still highly controversial and not discussed enough (or if they are debated, then only really unproductively, with zero chances of reaching a consensus between the opposing sides). Some might say that both of these issues are more topical in today’s socio-political climate than they were in the 1970s.

The movie approached these topics head-on (feminism way more than the LGBTQ+ side) and had a strong overall message. Personally, I loved it, but then again, I am a woman, a feminist, and a liberal. The general audiences, full of individuals of different genders/ideologies/beliefs, might turn on this movie because of its strong message of social justice. There was one short scene in the movie, where Emma Stone’s character confronted a journalist and clearly declared that she was not fighting to be seen as better, she just wanted to be treated equally. I wanted that idea – one of equality – to be more overtly stated in the movie because I worry that a takeaway for some audience members might be the fact that women want to be on top, rather than by side with the other genders. It is a bummer that, for some, being pro-female ultimately translates into an anti-male stance and I would hate if the cinema-goers interpreted Battle of the Sexes in such a way.

Now, let’s discuss some aspects of the writing in more detail. I thought that the presentation of Steve Carell’s character was captivating: his personal background and problems very clearly affected his actions of the tennis court. The way his gambling addiction and his work – tennis – were combined was super interesting too. It was also fascinating to see how he embellished his toxic masculinity for the public eye. The whole commentary on tennis as an activity in the middle of the spectacle v sports dichotomy was brilliant. In addition, the conflicting position of Carell’s character’s wife, played by Elisabeth Shue, was just amazing to watch: she rooted for her husband because he was her love but she also seemed to be cheering for Billie Jean and her cause.

Lastly, Battle of the Sexes also toyed with the concept of the gentlemanliness/sexism line (where one ends and the other begins). It also showcased sport as the factor that triumphed any relationship in the character’s life. The picture also did a very good job of combining feminity with feminism (which are often presented as polar opposites, which they aren’t). Oh, and the jokes were good too!

Directing

Battle of the Sexes was directed by a duo of filmmakers – Jonathan Dayton and Valerie Faris – who are responsible for directing one of my all-time favorite pictures Little Miss Sunshine. They did a great job with this film and its nuances and layers. Battle of the Sexes was a great biographical drama, a good sports drama, and an amazing romantic drama. The extreme close-ups of the characters made the movie seem intimate, real, and raw. The 1970s setting was well-realized, from the retro logos to the colorful vintage tracksuits. The sequences of the actual tennis play were good too, the final one was especially intense. The body doubles were hardly noticeable, so props to the directors, the cinematographer, and the camera crew for cleverly shooting around them.

Acting

Emma Stone (Magic in the MoonlightIrrational Man) and Steve Carell (The Big Short, Cafe Society) played the two lead roles. Both of these actors had quite similar careers – they started in comedy and then tried to transition to more serious roles, with varying levels of success. For Stone, this performance is her follow-up to the Oscar win for La La Land and a strong contender for at least a nomination this year. For Carrel, the involvement in Battle of the Sexes might bring him another nomination too. Emma was extremely lovable in the role and exuded both strength and relatable vulnerability. Steve was really good too – he looked exactly like the real person and also made the guy into a somewhat likable human being, even if he was sprouting nonsense most of the time.

The supporting cast was also really good. I loved Sarah Silverman as the bossy manager, she was perfectly cast. Andrea Riseborough (Nocturnal Animals) was brilliant as Billie Jean’s lover, while Austin Stowell (Bridge of Spies) brought a lot of heart to his role of Billie’s husband. Finally, I loved to hate Bill Pullman (ID: Resurgence) in his role and adored Elisabeth Shue in hers!

In short, Battle of the Sexes was a great drama about equality, freedom, and fighting. Undoubtfully, it was well executed, but whether you will agree with its message, will entirely depend on who you are as a person.

Rate: 4.3/5

Trailer: Battle of the Sexes trailer

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5 ideas about a movie: The Mountain Between Us

Movie reviews

Hello!

A counterprogramming drama that dared to go against Blade Runner 2049. This is the review of The Mountain Between Us.

IMDb summary: Stranded after a tragic plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow-covered mountain.

  1. The Mountain Between Us was written by Chris Weitz (the writer of Cinderella and Rogue One) and J. Mills Goodloe (the writer of Everything, Everything, The Age of Adaline, The Best of Me), based on the novel of the same name by Charles Martin. The Palestinian/Dutch director Hany Abu-Assad directed the film. While his non-English projects have been well received and even gotten a few Academy Awards nominations, his latest English language project will definitely not reach that level of success.
  2. The Mountain Between Us could be briefly described as Sully + Everest + any generic romantic drama from the last century. As you can probably tell, that last part (the romance) was the thing that I had the most problems with. I really thought that the whole romantic aspect of the movie was extremely forced. I did not buy the two characters as lovers. There is such thing as getting closer when facing a crisis and then there is just bad writing. The strangers to dislike to love arc did not work at all.
  3. I also didn’t particularly appreciate the very traditional archetypes for characters based on their gender. Of course, the female of the two had to be the more emotional one (an old-school damsel in distress), while the man could be rational/logical. Also, the driving factor for the woman had to be family/love/marriage, while the male character would focus on his career more. Having said that, if you are gonna make your character into a doctor (what a lucky coincidence for the plot), I can at least applaud you for picking the specialization that I wanted to practice – neurology.
  4. Structurally, the picture was fine. The opening set-up was efficient and quick even if a bit far-fetched. However, the drawn-out conclusion felt unnecessary and like an afterthought. Visually, the film did look good, mostly because of the gorgeous mountainous settings. However, some of the accidents on the mountain, like the characters falling, seemed rather fake – problems with CGI? Lastly, the inclusion of the dog into the story did nothing for me, as not an animal lover, but I’m sure that it was a positive factor for a lot of moviegoers.
  5. The two leads of the movie were played by Idris Elba (The Dark Tower, Star Trek Beyond, Bastille Day, Beasts of No Nation) and Kate Winslet (Collateral Beauty, Triple 9, Steve Jobs, Insurgent). Their performances were satisfying, cause the both of the actors are professionals, but nothing extraordinary. Also, I feel like their performances were not as good so as to carry the whole movie, which was exactly what they had to do.

In short, The Mountain Between Us was a confused survival/romance drama that felt really dated. A definitely skippable (at the cinema) movie, though it would probably work as a rental.

Rate: 2.7/5

Trailer: The Mountain Between Us trailer

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Movie review: Breathe

Movie reviews

Hello!

Yesterday, I had a chance to attend a preview screening of Breathe as part of the BFI London Film Festival. Thus, my review of the film is coming out early. Hope you enjoy it!

IMDb summary: The inspiring true love story of Robin and Diana Cavendish, an adventurous couple who refuse to give up in the face of a devastating disease.

Writing

The novelist and awards’ nominated screenwriter William Nicholson (who wrote or co-wrote such movies as Elizabeth: The Golden AgeLes MisérablesMandela: Long Walk to FreedomUnbroken, and Everestpenned the script for Breathe and did a great job. The film’s story had to cover quite a wide time frame, so the movie mostly focused on the major events in the lead duos life and had quite a few time jumps. The opening sequence of Robin and Diana meeting and falling in love was very quick: with lesser actors in these roles, the romance would have seemed rushed, but, in the case of Breathe, I thought that the set-up was written and later realized on film effectively enough. That sequence also established the lifestyle that Robin and Diane led: adventurous, exciting, and active. It also neatly set-up their caste (middle/upper) and their friend group – both factors came into play in the plot a bit later.

Thematically, Breathe touched upon a variety of concepts, like the most unversal one of them all – love, but also sacrifice, survival, and bravery. It was also interesting to see how the family’s social class informed Robin’s survival (amongst other things). For one, his better than a lot of people’s financial situation allowed him to be relocated to a more convenient house and to have the funds for the medical machinery (the historical medicine was very well-realized in the picture). However, it was also really heartwarming and uplifting to see Robin taking his personal goal (to survive) and expanding it into a communal goal for the betterment of the whole community of the disabled.

Two other related concepts in Breathe were friendship and humour. Robin’s and Diana’s friends helped them a lot, both physically and emotionally. It was also just remarkable to see that, even though Robin had a condition that was a hinder to his life, that did not change the way his friends communicated with him: they were still joking around, partying, drinking. It was a different life, not a ‘normal’ one (whatever that means), but it was as valid as the life of any individual. Robin, Diana, their son, and their friends took the difficulties and made life into an adventure, with moments of both weakness and triumph. And Breathe not only told this story, but convinced its viewers of its remarkability and had a lovely message that life is always worth living, no matter the circumstances.

While the film generally was quite emotional (alongside being funny – tears would be replaced by a smile and vice versa), its ending was the peek emotional time. The jokes kind diminished it the last 15 minutes of Breathe and were replaced with a sense of sophistication. The last moments of romance were so pure and simple, which resulted in the line that defined this film – ‘My Love, My Life’. Lastly, the choice to die on one’s own terms was presented as a dignified and powerful action (I can hear all those against euthanasia scoffing while reading this sentence). It was A middle finger to faith and determinism rather than life itself.

Directing 

Breathe was directed by the king of motion capture Andy Serkis. This was his directorial debut and not a film one would expect him to direct, knowing his achievements with the CGI and motion capture technology (Serkis has already directed a film that is more in line with what he usually does: he has his own version of Jungle Book, but it keeps being pushed back in the release schedule so as to escape from Disney’s The Jungle Book’s shadow). I though that he did an incredible job with Breathe. The film was shot beautifully and the jumping around in time was handled as good as it could have been. I wish, however, that he would have made the film longer. Some of the scenes, especially at the beginning, felt like they were cut off too quickly, while the snapshot focus on the major events of the characters’ lives had a sense of urgency. Basically, I wanted Breathe to be allowed to breathe more (no pun intended or was it?). Having said that, the movie did slow down a bit as it was progressing: the shots were allowed to linger longer and the camera did not cut away as quickly.

Acting

Breathe has assembled a brilliant cast and it got especially lucky with its two leads, who had realistic and very sweet chemistry.

Andrew Garfield has become a new awards front runner, with last year’s Hacksaw Ridge and Silence (who knew that being replaced as Spider-Man will be the best thing that has happened to his career?). I’m positive that he will get a nomination this year, for that monologue at the conference alone. Maybe he even be rewarded to his technical difficulties of acting as a disabled person, similarly how Eddie Redmayne won for his transformative role of Stephen Hawking in The Theory of Everything.

Clare Foy has made the jump from the small screen to the silver one very successfully. Although, I don’t know if Netflix’s The Crown can really be seen as a TV show, knowing its production quality, budget, and amazing storytelling. I’d love if she got a few nominations for her performance too, I could definitely spot a few key scenes which can certainly be included in her awards’ reel.

The supporting cast of the film was good too. Tom Hollander (Tulip Fever, The Promise), in twin roles, was the most obvious comedic relief. Downton Abbey’s Hugh Bonneville starred as the inventor Teddy Hall, whose talents were crucial to the survival of Robin and I wish we would have seen more of him. Dean-Charles Chapman (GOT’s Tommen) and Ed Speelers (another Downton Abbey alumni) had small roles as well.

In short, Breathe was a great film that told an extraordinary, touching, and humorous real-life story, which was brought to life by a wonderful group of actors and a competent first-time director. Definitely a picture worth to be screened at the Opening Night Gala of the BFI London Film Festival

Rate: 4.2/5

Trailer: Breathe trailer

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5 ideas about a movie: Home Again

Movie reviews

Hello!

Home Again is trying to prove that the rom-com genre is not dead yet. Or is it?

IMDb summary: Life for a single mom in Los Angeles takes an unexpected turn when she allows three young guys to move in with her.

  1. Home Again is a directorial (and writing) debut of Hallie Meyers-Shyer, the daughter of Nancy Meyers – producer and director of various successful rom-coms (she produced her daughter’s first film too). The fact that it is somebody’s first movie explains a lot about it: Home Again was cliched, predictable, cringe-y at times, and real slow at others and, lastly, mostly consisted of elements and plot-points borrowed from other similar films. And yet, I didn’t hate it. If somebody needs an escapist, ‘no-thinking-required’ type of a film to relieve some stress or quiet one’s mind, I recommend you to see Home Again and experience somebody else’s first world problems instead of your own.
  2. The movie tackled three broad ideas: it attempted to be a traditional rom-com, with some sitcom humor, while also being a picture about the film business. Let’s start with that last part, which was, unsurprisingly, my favorite. As a cinephile, I appreciate films which appreciate films. The LA setting, the father director (who looked/came across as pre-Star Wars George Lucas), the aspiring filmmaker characters and their attempt to make a movie were all elements which I adored.
  3. The two other concepts/genres weren’t bad either (but, as I’ve said, nothing remotely original too). I liked the sitcom parts best out of the two, especially the silent reaction faces that the characters would exchange (then again, I love real-life humor). The romcom part was fine too. A bit fairytale-ish but we are talking escapism here (at least they left the ‘happy ending’ slightly ambiguous). By far the best detail of the romantic comedy side of Home Again was the reversal of the trope of the age difference between the two genders: the female character was the older one in a relationship (that is still very much a taboo thing – just look at all the news coverage about the fact that France’s president’s wife is older than him).
  4. The main thing that made Home Again work was its star – Reese Witherspoon (Sing). She has moved away from romcoms and came back to them constantly throughout her career. This instance of return was somewhat successful. She brought some heart into an otherwise shallow picture and was extremely lovable in her role, despite how cliche it was (I mean, are there any other occupations for mothers besides interior design ???).
  5. The film’s supporting cast wasn’t bad either and their performances were fine (again, appropriate for the picture). Nat Wolff (the most well-known out of the three co-leads because of TFIOS, Paper Towns, and Death Note), SNL alumni Jon Rudnitsky and quite an unknown actor Pico Alexander (who has the potential to be the next teen heartthrob) were all fun to watch. For some reason, Michael Sheen (Far From The Madding Crowd, Passengers, Nocturnal Animals) and TV royalty Candice Bergen also appeared in the movie (‘paycheck gigs pay the bills!’).

In short, Home Again is a perfectly serviceable rom-com that you have seen before. It’s a great rental/TV-rerun: a good background movie or a laundry/cooking movie. If you want a more modern take on the genre, check out The Big Sick

Rate: 2.8/5

Trailer: Home Again trailer

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Movie review: Tulip Fever

Movie reviews

Hello!

After being pushed back a few years, Tulip Fever has finally reached theaters! Does it have any Oscar potential as its cast list suggests?

IMDb summary: An artist falls for a young married woman while he’s commissioned to paint her portrait during the Tulip mania of 17th century Amsterdam.

Writing

Tulip Fever was written by a playwright and occasional screenwriter Tom Stoppard. His most recent previous film script was the one for 2012’s Anna Karenina. The film’s story and the writing, in general, started out promising but quickly wasted all the said promise. The opening, which set the context of the tulip market and the 17th Amsterdam, as well as the initial details of the actual plot, was quite interesting. However, the more the narrative unraveled, the more unbelievable it became. The ending was especially unsatisfying because the movie didn’t commit to going the full on fantasy route and having a fairytale ending but also wasn’t grounded enough for a realistic conclusion, so it just had one that landed somewhere in the middle. All the characters in the picture were way too interconnected and the twists and turns in the story were mostly lucky coincidences. The drama and the emotional core felt really fake and manufactured as well. Basically, Tulip Fever felt as an old school literary adaptation, which it was exactly: a contemporary yet classical historical romance novel (by Deborah Moggach) with typical yet modernized characters that was turned into a film.

While the final product did not turn out well, as I have said, the promise was there in the details. It was really interesting to see the love and the lack of love juxtaposed through sex scenes. I also liked the exploration of the women’s roles in a patriarchal system and how cunning they had to be to survive, and yet, how they also felt bounded by their duty (Vikander’s character was never entirely sure about her actions) I also appreciated the portrayal of Christoph Waltz’s character – a clueless man, living in privilege, and not even understanding his privilege yet not being malevolent about it. I also liked the hints at the concept of friendship and the hardships it has to endure when spanning multiple caste levels. Lastly, I was really glad to see a historical drama focusing not on The British Empire but on the player that preceded it in the world domination – Holland/The Netherlands.

Directing

Justin Chadwick, who has received some recognition a few years back for Mandela: Long Walk to Freedom, directed Tulip Fever and did a fabulous job with a flawed script. While he went along with the over the top dramatization of the story, nothing bad can be said about his visuals. Tulip Fever was a gorgeous looking movie, with beautiful and rich shots, full of textures and colors. The costume department should also get a raise because their spectacular collars contributed a lot to the magnificence of the look and helped prove the point that Holland was a powerful country. The artistic close-ups of Vikander reminded me of a fashion film or a high-end makeup ad too. If a movie career doesn’t work out for Chadwick, he should check out the advertising business.

Acting

Tulip Fever had a stellar cast, full of Academy favorites, old (Judi Dench, Christoph Waltz) and new (Alicia Vikander). Vikander (The Man From U.N.C.L.E., The Danish Girl, Jason Bourne, The Testament of Youth, Anna Karenina) did a fabulous job and she and Waltz (Spectre, Tarzan) made an interesting pair. Their more formal scenes had a feeling of warmness and respect, while their more intimate scenes felt very uncomfortable (which was the goal). In turn, Vikander’s and Dane Deehan’s (Valerian) scenes felt realistically intimate (sexier than Fifty Shades, though, that’s a low bar to be aiming for). BTW, I bought Deehan much more as a struggling lovesick artist than an action hero.

Judi Dench had a fun, although highly fictional role, in the film. Jack O’Connell (Unbroken, Money Monster)and Holiday Grainger (Cinderella, The Finest Hours) delivered neat and likable performances (Grainger’s voice fit the role of the narrator very well). Glee’s Matthew Morrison, Tom Hollander (MI5, The Promise), and model-turned-actress Cara Delevigne (Paper Towns, Suicide Squad, Valerian) also appeared. Lastly, Zach Galifianakis (The Lego Batman) played his typical role, that wasn’t necessary for the movie at all.

In short, Tulip Fever was a beautiful looking but a poorly written picture that had some stellar and wasted acting performances too.

Rate: 3/5

Trailer: Tulip Fever trailer

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