Movie review: The Greatest Showman

Movie reviews

Hello!

What you get when you take the songwriters of La La Land and add them to a retired Wolverine? This is The Greatest Showman!

IMDb summary: inspired by the imagination of P.T. Barnum, The Greatest Showman is an original musical that celebrates the birth of show business and tells of a visionary who rose from nothing to create a spectacle that became a worldwide sensation.

Writing

The Greatest Showman, written by Jenny Bicks (one of the writers on Sex and the City) and Bill Condon (directed Beauty and the Beast, wrote Chicago, did both on Dreamgirls), is the story of P.T. Barnum. Being a mainstream musical that values entertainment value over accuracy, The Greatest Showman puts a fictional and quite an optimistic spin on a really dark and depressing real-life story. Barnum’s circus was not the safe haven for the different and marginalized, it was a prison for the so-called ‘freaks’ who neither the society nor Barnum himself actually cared for. And while there are some hints in the film for Barnum’s darker side (him turning away from his performers, and following the money and the high society’s acceptance instead), the overall final product can hardly be called a biography. Nevertheless, if one divorces the movie from its source material and takes it as a fictional story, then The Greatest Showman can absolutely be enjoyable (that’s how I enjoyed the movie – by treating it as a fictional musical rather than a biography).

Thematically, the picture explored ideas of hope and celebrated imagination and tolerance (again, take it as a fictional story, not a biography). It also expressed some ideas about hoaxes as lies for a good purpose (felt iffy about that message). The Greatest Showman also attempted to be a celebration of difference, however, it didn’t end up doing much else than just showcasing the difference – what I mean by this is that the script lacked character development for the majority of the performers. P.T. Barum received the most development, him being the lead and all, but even his personal arc was rushed at the beginning.

Directing

A visual effects supervisor Michael Gracey debuted as a director with The Greatest Showman and did quite a good job. Of course, he did get a lot of help from the aforementioned songwriters Benj Pasek and Justin Paul (their other credits include Dear Evan Hansen – a new and beloved Broadway musical as well as ‘Runnin’ Home To You’ – the song from The Flash musical episode) and composers John Debney and John Trapanese. The choreographer Ashley Wallen is also responsible for the success of the film’s musical numbers. And the musical numbers were plentiful. While on the first hearing, all of the songs somewhat blended together for me, upon a second listen, I started to appreciate them all separately. While ‘This is Me’ was certainly a great song and deserves the awards recognition it is getting, my favorite track was actually ‘Never Enough’. That song might be a bit too depressing and too real for the academy/other awards voters. What I wish that The Greatest Showman had less of was the reprisals of its songs. There were a lot of them and maybe a bit too many for a less than a 2-hour movie.

I’ve seen a few complaints online about the fact that this old school musical had a modern soundtrack – I actually loved the combo of old and new, but, then again, I liked how The Great Gatsby used modern music and I just love easy pop songs in general. I also loved how the movie realized its setting of a carnival/circus – I always thought that circus was a rich and realistically magical setting that is open to a lot of possibilities. In fact, The Greatest Showman’s circus numbers reminded me a bit of one short carnival sequence in the remake of Fame which I have always adored (linked it here).

Acting

Hugh Jackman (X-Men, Eddie The Eagle) starred in the lead of the film and did a good job. There was a reason why he so desperately wanted to make this movie – he knew he would be very good in it. It took me a few songs to get used to him not singing opera-like classics – I have only really heard him singing in Les Miserables before.

Zac Efron (The Disaster ArtistBaywatch, Mike and Dave, We Are Your Friends) was also really good in the picture and it was fun to see him coming back to his roots – a genre that made him well known in the first place (yes, I did grew up watching him in HSM, don’t judge me). Zendaya (Spider-Man) also delivered a wonderful performance, made even more amazing by the fact that she was actually the one doing the trapeze stunts. Michelle Williams (Manchester By the Sea) was also great in the film and in a less depressing role than she usually plays.

Rebecca Ferguson (The Snowman, MI5) delivered a great performance too – I loved the scene of her and Hugh Jackman just looking at each other. However, the most notable scene of Ferguson’s wasn’t even notable because of Ferguson herself – the aforementioned song ‘Never Enough’ was sung by her character but not by the actress herself. She was only lip syncing to the vocals of  Loren Allred. Lastly, Keala Settle rounded out the cast and was superb.

In short, The Greatest Showman was a great musical with delightful performances that was a bit let down by its mediocre writing

Rate: 4/5

Trailer: The Greatest Showman trailer

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Movie review: The Man Who Invented Christmas

Movie reviews

Hello!

The Christmas movie season continues. After a couple of comedies (A Bad Moms Christmas and Daddy’s Home 2), we now have a biographical drama – The Man Who Invented Christmas!

IMDb summary: The journey that led to Charles Dickens’ creation of “A Christmas Carol,” a timeless tale that would redefine the holiday.

Writing

The Man Who Invented Christmas‘ script was written by Susan Coyne (a Canadian playwright and TV writer), based on a historical non-fiction book with the same name by Les Standiford. Even though the screenplay was based on historical fact, I still question the accuracy of the film’s narrative, as the cinematic adaptations of biographies tend to usually strive for an entertaining rather than truthful story. And this movie’s narrative was certainly compelling, mostly due to its content but also structure.

The Man Who Invented Christmas told (though great dialogues, I might add) the behind-the-scenes story of the creation of one of the most beloved novellas for readers of all ages – Charles Dickens’s A Christmas Carol. I do particularly remember reading the book as a child while laying down in bed with a cold during winter. Seeing this film made me want to definitely reread the book this winter. I would probably understand it in a completely different way now, not only because I watched this film but also because I just studied Charles Dickens’ other works, last of which I read and researched only last month – Great Expectations.

If the movie is to be believed, a lot of different elements from Dickens‘ life acted as the inspiration for the novella. One of the elements was Dickens’s struggles with the concept of class: the class divide and the class consciousness. He was known as ‘the writer of the people’ and yet, he was very much part of the upper/middle class. However, he had experienced lower class life as a child in a workhouse and those experiences haunted him the rest of his life. Dickens‘ father’s belief that he belonged to a higher class even if he had no funds to back up his membership also influenced the writer. The portrayal of the competitive literary scene of the 19th century Britain also acted as a neat realistic background for the story.

As much as I have enjoyed the content of the narrative, I also really loved its structure (a.k.a. how the inspiration behind A Christmas Carol was portrayed in the film). I thoroughly enjoyed seeing Dickens interact with his characters and move around his version of London in the story. It was as if the magical atmosphere of the book was transferred to its behind the scenes story. I loved seeing the parallels between Dickens and Scrooge too and liked the idea that both of them needed to learn to open themselves up to the world and see the hopeful side of it. It looks like writing was a form of therapy for Dickens. Lastly, I absolutely adored the picture’s message about the importance and the usefulness of imagination and storytelling.

Directing

The Man Who Invented Christmas was directed by Bharat Nalluri and this was the first film of his that I have seen. I thought that he did a stellar job. I loved the fairytale-like atmosphere of the film – the said aura made the movie more than just a biographical drama. The pacing was quite good too. The cinematography (by Ben Smithard) was good and varied as well, while the orchestral soundtrack (by Mychael Danna) was grand and emotional. Lastly, the narrative’s sentimental message and a heart-warming conclusion were brought to life in an excellent manner. My favorite scene of the movie that just epitomized all that was great about it was Stevens as Dickens looking at the first published copy of his new book and getting emotional about it. That single scene underscored both the hardships and the joys of creativity as Stevens‘ character seemed both relieved and excited.

Acting

Dan Stevens starred as Charles Dickens and did a great job. His performance was quite theatrical, which really fit the fairytale aura of the film (but would have been odd in a more realistic setting). Stevens seems to have a hard time escaping historical roles – he was just the Beast in 18th century France (Beauty and the Beast) and, of course, who can forget the beginning of his career and Cousin Matthew on Downton Abbey? If you want to see him in more contemporary roles, The Guest and Legion are both excellent (even though Legion is maybe set in the past – the visual style of that series makes it really hard to pinpoint its time period).

The supporting cast of the movie was full of great talent. Christopher Plummer was just amazing as Scrooge (I should not be surprised at how great he was after looking at his IMDb: he is, basically, the cinema royalty, and was even in The Sound of Music all those decades ago). Jonathan Pryce was also quite good as Dickens’s father. On the female character side, the movie didn’t have much (it was set in the 19th century, are you even surprised at the lack of female leads?). Having said that, it did attempt to do something with Dickens’ wife, played by Ger Ryan (she mentioned something about wanting an adventure of her own – not an idea that a woman would have had in the 19th century but definitely would have had nowadays) and Anna Murphy as Tara (an Irish housemaid, whose tales kickstarted the writing process of A Christmas Carol).

In short, The Man Who Invented Christmas was a unique biographical drama with a lovely message and a touch of theatricality.

Rate: 4.3/5

Trailer: The Man Who Invented Christmas trailer

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Movie review: Dunkirk

Movie reviews

Hello!

A movie, that needs no introduction, has reached theaters, so let’s talk about it. This is the review of Dunkirk.

IMDb summary: Allied soldiers from Belgium, the British Empire, and France are surrounded by the German army and evacuated during a fierce battle in World War II.

Before we start discussing the film, I’d like to remind you that there already is a picture about Dunkirk, released in 2017 – Their Finest. It’s a completely different but as interesting take on the ‘event that shaped the Western world’. Also, my previous review of a Nolan film is the one for Interstellar.

Christopher Nolan

Both written and directed by Nolan, Dunkirk is the highly acclaimed director’s 10th feature film. It has already been labeled as his best film as well as a ‘masterpiece’ of modern cinema. With all of these accolades in mind, my expectations have also been really high. And while I certainly wasn’t let down, I haven’t been blown away either.

Writing

Dunkirk’s writing is unique (as should be expected from Nolan – the master storyteller) in that the film doesn’t tell a story of the evacuation but rather recreates the evacuation. The staples of the narrative, like the extensive dialogue or the character development, are mostly absent from the movie and the glimpses of the personal stories are scarcely dispersed throughout the intense action scenes. I believe that the lack of the character development actually serves the movie right because that makes the viewer see the characters as nobodies – a faceless mass of interchangeable soldiers – which is what they actually were. I did miss Nolan’s great dialogue, though, even if this film’s setting didn’t really call for it.

Even though, the picture doesn’t have much in terms of narrative, the plot that is in the film is told in a non-linear way (again, as it should be expected from Nolan). However, there isn’t too much of jumping around (Dunkirk is no Memento). The three main plot threads – the land, the air, and the sea – provide different and interesting perspectives on the evacuation but I wish that these viewpoints were wider within themselves. For example, I wanted to see the faiths of more than a few soldiers, or more than two planes, or more than just one civilian boat.

Another interesting choice that is made in the script is the decision to never call out the nationality of the enemy. Never once in the picture, do we hear the words ‘Germans’ or ‘Nazis’. It’s always ‘the enemy’. Is that the political correctness of today bleeding into a WW2 film or is the eternal shame and guilt of the German nation is slowly coming to an end?

Directing

Christopher Nolan has always been amazing at visuals and he proves that again with Dunkirk. The whole film feels, more or less, like the expanded version of the Saving Private Ryan opening beach sequence, with the levels of dread, fear, and destruction, never dipping below the maximum. The intensity is palpable, while the emotions – heart-wrenching. From a purely aesthetic view, the shots are masterfully composed, both in the air, on land, or in the water. To my mind, Dunkirk might not be his best film, but it is certainly a great-looking one.

Music

An element of Dunkirk that sometimes rivals the visuals as its best part, is the soundtrack by Hans Zimmer (a longtime creative partner of Nolan’s). The master composer (I feel like I used the word ‘master’ too much already) surpasses the sky high expectations and delivers an emotional, eerie, thrilling, and haunting score. The sounds of the bombs are so crisp and clear that one can definitely hear if their cinema’s sound system is lacking in quality (I’m not pointing any fingers).

Acting

Dunkirk has an extensive ensemble cast, full of newcomers as well as seasoned A-listers. All of them deliver excellent if brief performances. On land, we follow Fionn Whitehead (in his first film role), Aneurin Barnard (a Welshman playing a Frenchman disguised as an Englishman) and an ex-1D member and a successful solo artist Harry Styles. Nolan has claimed to not have known about Styles’ fame before casting him in the film. I find that doubtful because Nolan has a teenage daughter who might (must) have known who he was. Also, even if she (or he) wasn’t a fan, the 1D craze a few years back far exceed the limits of the fandom and was absolutely everywhere, so Nolan should have definitely at least have heard about him. Anyways, for whatever reason Styles was cast in the picture, he did act as a somewhat box office draw, as evident by a mother-daughter duo, who sat next to me in the cinema and could not shut up when his face showed up on screen. On a side note, I didn’t see anyone complaining about his involvement in the film or that his ‘famous face’ took the viewer out of the movie, but, somehow, Ed Sheeran signing three lines on Game of Thrones is a disaster that breaks the fictional world’s continuum?

Back to the cast I was discussing in the first place, the ‘land’ portion of the plot also had Kenneth Branagh (director of Cinderella and the upcoming Murder on the Orient Express) and James D’Arcy (Agent Carter) as two officers of exposition and trailer one liners. The ‘on the sea’ perspective had Mark Rylance (whose career really took off only in 2015 with Bridge of Spies, then The BFG, and soon Ready Player One), accompanied by a screen newcomer Tom Glynn-Carney and a bit more experienced Barry Keoghan. A longtime creative partner of Nolan’s  Cillian (Free Fire) also appeared in the film, in the probably the most fleshed out role. The ‘air’ part of the plot was acted out by Jack Lowden and another of Nolan’s usuals – Tom Hardy (Mad Max, Legend, The Revenant) with his face half-obscured as always.

In short, while I might not think that Dunkirk is a masterpiece, I unquestionably agree that it is a great film. The visuals are stellar, the acting is effective, and the writing – full of bold choices that I might not like but can and do appreciate.

Rate: 4,3/5

Trailer: Dunkirk trailer

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Movie review: Despicable Me 3 

Movie reviews

Hello!

Illumination Entertainment has replaced DreamWorks as the other ‘it’ animation studio in Hollywood (first being the Disney/Pixar conglomerate). Let’s see whether their latest offering – Despicable Me 3 – is worthy of praise.

IMDb summary: Gru meets his long-lost charming, cheerful, and more successful twin brother Dru who wants to team up with him for one last criminal heist.

I, personally, really enjoyed the first two Despicable Me films (and other recent Illumination movies, like Sing and The Secret Life of Pets) but I vastly despised the Minions spinoff. I hoped that the minions’ meme would have died down by now but is still as strong as ever. Thus, the interest in this movie is, most likely, big. Minions have been definitely used more in the marketing than when advertising the previous pictures of the main series. While their role in the movie is smaller than I expected (thankfully), two of them actually appear on the screen first, a few seconds before Gru – the supposed star of the franchise.

Writing

The writing duo Cinco Paul and Ken Daurio wrote the third film in the Despicable Me series (they also penned the original and the first sequel). Overall, the script was a mixed bag of stuff. Story-wise, a lot of things were happening and multiple plotlines were being developed (with varying amounts of attention and screentime). The biggest ones were Gru’s and his brother’s story, the Mother-Daughter bonding idea, the new villain’s Baltazar’s plotline, and the Minion shenanigans (that had little to do with anything else in the movie). The daughter characters also had their small side quests (unicorn and engagement). While I don’t really think that all these lines necessarily worked together, I would at least like to compliment the scriptwriters for trying to do something with the story and the characters.

Speaking of the characters – I loved the new villain Baltazar. I loved his 80s look (shoulder pads!) and affinity for music and dance. He really reminded me of Baby from Baby Driver – stealing into the beat of the music similarly to driving into the beat of the music. I also loved his Guardians of the Galaxy-like dance-off idea. Agnes character – the most adorable of the daughters – was also delightful to watch and I very much enjoyed her ‘hunt’ for the unicorn (definitely more than everything related to the Minions).

Thematically, Despicable Me 3 tackled adult themes and paired them with childish humor. The grown-up characters were dealing with being fired and finding a new life path, while also coming to terms with failed dreams of their youth; they were attempting to reconnect with long lost siblings and were worrying about being good parents. Things, like gambling online, sexual innuendos, and baldness were also mentioned. On the completely opposite end of the spectrum was the film’s humor – it was mostly childish. The Minions comic relief side quest could have been cut out of the movie and nothing would have changed. The Minions were actually sort of replaced by pigs. The new brother character, who failed at being a villain, got annoying really quick too.

Lastly, one meta idea that I immensely enjoyed about Despicable Me 3 was the fact that the movie’s villain was attempting to take down Hollywood, while the film itself was very much a product of Hollywood. Oh, the sweet irony.

Directing

Pierre Coffin and Kyle Balda, who directed all the previous pictures of the series, helmed Despicable Me 3 and did an okay job. The animation was good, as it always is. The pacing was also fine and I liked the fact that the movie was quite short and not too overindulgent in itself. The score (by Heitor Pereira and Pharrell Williams) was catchy too. While the film was surely my least favorite in the franchise (it went downhill as so many series do), I think that the kids would definitely enjoy it. I wonder if they will attempt to continue the franchise – is the final scene of Dru teaming up with the Minions an indication that the next film might be Dru vs. Gru. And we all know that ‘versus’ stories are popular now.

Voice work

Steve Carell performed a double duty and voiced both Gru and Dru. I liked his work here as much as in the previous films and appreciated the subtle differences in the voices of the two brothers. Kristen Wiig was also good, while the co-creator of South-Park Trey Parker was a neat choice for a villain.

In short, Despicable Me 3 is a perfectly servicable kids’ movie that doesn’t offer anything too special but is, overall, entertaining, if one can stomach the Minions.

Rate: 3.5/5

Trailer: Despicable Me 3 trailer

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Movie review: Baby Driver

Movie reviews

Hello!

An original movie, in this day and age, is a rarity, and that makes Baby Driver ten times more special than it already is. Let see whether the film can live up to the hype, whether it can prove the worth of original material, and whether it can act as the comeback of Edgar Wright! Plus, can it just be a fun and enjoyable summer movie?

IMDb summary: After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.

Edgar Wright

Baby Driver was both written and directed by the coveted auteur Edgar Wright (one of the few auteurs working in Hollywood). Wright is best known for creating The Three Flavours Cornetto trilogy and cult classic Scott Pilgrim vs. The World. He also worked on the Marvel project Ant-Man before parting ways with the studio. Even though he left Disney/Marvel, he did live to make another movie and Baby Driver very much proves that his career is far from over. So, on a side note, Lord and Miller situation (them being fired from the Han Solo movie) might also turn out fine.

Writing

I very much enjoyed the writing for Baby Driver. The story was tight and simple, but yet also complex and unique. Let’s begin with the main character of Baby – I don’t think I can name another recent character that was so extraordinary. His love for music and driving, his sense of style (those glasses – brilliant), his relationships with his mother, girlfriend, and the deaf foster dad, and a good heart made him not only a relatable but extremely likable lead. And yet, he also had unexpected qualities (like the idea for that brutal kill or just bravery enough to kill). Also, the fact that the movie acknowledged that there are different ways to enjoy music (by hearing AND feeling it) was so great.

The romantic plotline also actually worked, which it rarely does in an action film. I loved the ending shot in black and white: they looked like a couple of criminals from a 60s movie. All the main criminal characters were amazing too and I loved the fact that all of their arcs had a definitive ending and that they weren’t dropped halfway through the runtime. My only gripe was that I didn’t think that Kevin Spacey’s character’s change of heart fully worked. The film also had wonderful humor, some of my favorite parts were the kid in the post office and the butchery metaphor. Lastly, I loved how Wright paid dues to other movies, by either giving them a shout-out or just showing a clip from them on TV. Baby Driver was, truly, a film written by a movie lover for movie lovers.

Directing

From the trailers, Baby Driver seemed like a super fun movie but I didn’t feel that it had the signature flavor of Wright. I was kinda right – Baby Driver was his lowest energy project yet (although it did dial everything up for the finale) and his most mainstream film so far and that is not really a bad thing. It was basically something different yet familiar. I loved all the action sequences and enjoyed the irony of Baby also having to run rather than drive in one of them. I was also impressed by the long takes, especially the one that followed the opening car chase. The signature close-ups were also neat.

Plus, I liked the fact that they used normal looking cars, not super expensive and super fast ones. Thus, Baby Driver was a celebration of driving – a thing that The Fast and The Furious used to have but lost completely in the later installments. Lastly, I cannot write a review for Baby Driver without mentioning the editing and the soundtrack. This is how you edit the visuals into the music. King Arthur and Suicide Squad should watch and learn.

Acting

Baby Driver’s cast was marvelous: it consisted of both proven actors and some up-and-comers. Ansel Elgort (TFIOS, Divergent) was spectacular, they way he acted into the music/with the music was just thrilling to watch. Lily James (Cinderella) was good as his girlfriend: they looked cute together and had chemistry. The cinema veterans Kevin Spacey (House of Cards), Jon Hamm (Keeping Up With The Joneses was actually not bad), Jamie Foxx (Sleepless was the best movie of this January – not much but something), and Jon Bernthal (The Accountant) all brought their A-game and appeared to be having a ton of fun with this picture. Lastly, an unknown (to me) Mexican actress Eiza González was an amazing badass to watch as well.

In short, Baby Driver is the best version of Drive meets American Grafitti. It has great action, funny jokes, cool editing, spectatcular soundtrack and it’s Edgar Wright at his best, even if that ‘best’ is a bit different than we are used to.

Rate: 4.5/5

Trailer: Baby Driver trailer

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Movie review: The Shallows

Movie reviews

Hello!

I’m more than a month late to review this film, but you can blame foreign release schedules for that. Without further ado, let’s talk about The Shallows – that small Blake Lively thriller .

IMDb summary: A mere 200 yards from shore, surfer Nancy is attacked by a great white shark, with her short journey to safety becoming the ultimate contest of wills.

I have seen this movie being described as a sum of a few already made films. Some said it was 127 hours in water with sharks, others that it was Shark Week: the movie. Personally, The Shallows reminded me a bit of Soul Surfer (the family drama, the surfer being attacked), Jaws (similar filming techniques from the shark’s perspective so as not to show the shark) and Piranha (the horror elements in the few scenes).  The main thing that attracted me to this film was the fact that I really want to learn how to surf. I already spend a lot of time in the water since I am a competitive swimmer (or used to be one), so transitioning from swimming to surfing would not be that big of a stretch.

Writing

Anthony Jaswinski wrote The Shallows’s script and did a good job. I really liked the way he presented the main character’s backstory – the viewer found out all he/she needed to know in 3 dialogue scenes: the one with the driver, the phone conversation and during the small talk with the other surfers. I also liked her backstory by itself – she was a medicine student so her knowledge of that field helped her survive – she was resourceful and quick-witted. The writing for the big finale was a bit weak though – for such a realistic movie, I had a hard time believing that the shark would meet that kind of an end.

Directing

Jaume Collet-Serra, a mainly thriller director, did not disappoint with another project in his preferred genre. To begin with, the filming locations really helped him – the beach and the ocean were magnificent. Also, the beauty of nature was effectively contrasted with the terror of the situation that the main character was in. The photos that would pop-up on-screen were also a great tool for backstory, so as to make those 3 scenes of dialogue more visual. The effects, mainly the shark CGI or a model, also worked – he did seem real. The glowing jellyfish were also gorgeous. Those seagulls that were keeping Blake Lively company really reminded me of the seagulls that live in Aberdeen, Scotland (my second hometown) because they weren’t afraid of people and seagulls in Aberdeen can literally attack anyone that is passing them by.

The handheld camera was also good (and that’s coming from a person who hates shaky cam) – the mobile frame and the close-ups depicted the fact that our character was alone on a sea really well. This feeling of fear and loneliness together with the sense of suspense made watching the movie an engaging but not a comfortable experience. The hardest scenes to watch where the actual shark attack sequence and the ‘surgery’ scene. The Shallows also had a couple of jump scares that were effective. If we would have gotten more jump scares I would accuse the film of going the easy cliche route, however, since the picture had just the right amount of jump-scares, I was okay with them. The technique that I thought was a bit overused was the slow motion – it overdramatized an already dramatic and scary situation and pushed it towards a cliche, over-the-top cartoon level. The surfing montage at the beginning was cool but the music choice was a bit cheesy – Trouble by Neon Jungle, really? The other song that I remember from the film was Sia’s Bird Set Free. It was a good song for the credits. Sia’s music have been featured in at least 4 films this summer, she is really making her mark in Hollywood. The Shallows instrumental score was great too – it helped a lot to build an anxiety-inducing atmosphere.

Acting

Blake Lively starred as the lead, named Nancy, and did an amazing job. She basically carried this whole movie. She was believable as a sporty surfer and was amazing in all the suspenseful scenes. I especially liked that close-up reaction shot where she supposedly saw the shark attacking that drunk guy. Lively just starred in the new Woody Allen film Cafe Society. She was also really good in last year’s Age of Adaline (that picture have been doing great on streaming). Lively has definitely shed her Gossip Girl persona and is probably doing the best out of all her former castmates. A few unknown Spanish actors, as well as a few familiar faces from TV, played a couple of small supporting roles but, honestly, none of them had enough of screen time for me to talk about them.

In short, The Shallows was an unexpectedly entertaining film, one of the hidden gems of this summer. Blake Lively shined and finally proved herself to be a great actress. The writing and directing were also good for the most part.

Rate: 4/5

Trailer: The Shallows trailer

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Movie review: The BFG

Movie reviews

Hi!

Welcome to another summer movie review. I’m running out of ways to greet you and introduce the posts, so without further ado, let’s talk about The BFGThe Big Friendly Giant.

IMDb summary: A girl named Sophie encounters the Big Friendly Giant who, despite his intimidating appearance, turns out to be a kindhearted soul who is considered an outcast by the other giants because, unlike them, he refuses to eat children.

Genre

I would say that The BFG belongs to the live action fairytale genre, which is so popular nowadays and especially this summer (we already had The Huntsman, Alice 2, The Jungle Book and Tarzan comes out next week). However, The BFG differs from all of them in that it is a somewhat original film – it is not a sequel or a remake of an animated picture, but the first-time big screen adaptation of Roald Dahl’s book with the same name. Dahl is a famous author who has created such stories as James and the Giant Peach, Charlie and the Chocolate Factory and Matilda among others.

Spielberg’s filmography and similar films

Back in the 80s, Spielberg made a career for himself, crafting beautiful family films about children who befriend unique creatures. Of course, I’m talking about E.T. (interestingly, E.T. and The BFG share a screenwriter – Melissa Mathison, who, sadly, had recently passed away). However, in the past 5 years, Spielberg have focused on serious historical dramas, like War Horse, Lincoln, and Bridge of Spies, so The BFG is kinda his comeback to the family fantasy genre. Another well-known director, who has also recently tried to transition from the awards contenders to family films, is Martin Scorcese, who made the child-appropriate Hugo in 2011. The BFG also reminded me a bit of Peter Pan films (the good ones) and it also had a slight Harry Potter-like feeling.

Writing: the narrative

The BFG’s story was okay. It portrayed a lead peaceful ‘monster’ in Spielberg’s fashion. It had nice things to say about friendship and growing up and also had a strong anti-bullying and standing up for yourself type of a message. The two faults I had with the story were: 1. the pace – the set up was really long and there wasn’t really any buildup: the film dragged on and the final resolution was also kinda disappointing – I did not see the need to involve The Queen – those sequences came out of nowhere and just seemed so bloody British; 2. the jokes – The BFG relied on slapstick humour and fart jokes – I really wish they would have come up with cleverer comic relief, like Zootopia did. In general, I felt that The BFG was not a family but solely a kids movie and not a very good one. It lacked sophistication for adults and didn’t have enough ‘adventure’ for the younger viewers. However, I do believe that this film could do great on TV in like 5 years time – I can definitely see people watching it at home during Christmas or something.

Directing: the visuals + the music

The CGI and the motion capture work on The BFG were both stellar. My favorite visuals were the dreamland and that tree – that whole physical manifestation of dreams was a cool idea and was realized nicely. The eye to sun transition was also a great and memorable shot. The BFG’s score by the great John Williams was breathtaking, heartfelt and suspenseful. He is the greatest score composer and his work will forever live on.

Acting

  • Mark Rylance as The BFG was really good. This was Rylance’s second collaboration with Spielberg – last year Spielberg directed Rylance into an Oscar-winning performance. His manners were really appropriate for the role – gentle yet steel giant like. His look was also on-point: Rylance looks like a really loving grandpa, so The BFG’s role was perfect for him. Next year, Rylance will be in Nolan’s Dunkirk and a year after that he will collaborate with Spielberg once again on Ready Player One
  • Ruby Barnhill as Sophie was a really good child lead. I think that this young lady has a bright future and a long career ahead of her. 
  • Penelope Wilton as The Queen. While I did not understand the need to include The Queen into this story, I was happy that Wilton was the one to portray  her. I’m happy to see her getting more work since Downton Abbey has ended. 
  • Jemaine Clement as The Fleshlumpeater – the main antagonist. Clement was okay: his look was pretty scary and ugly and his performance brought this flesh-eater to life in a believable way.

In short, I expected more from Spielberg. I hoped that he would create another family-friendly classic, which would satisfy both the adults and the children, however, I do think that anyone above the age of 11 will find The BFG kinda boring.

Rate: 3.25/5

Trailer: The BFG trailer

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