January Round Up - Part II
Bombshell
Director: Jay Roach
Cast: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Alison Janney
Synopsis: Based on the true story, a group of women working at Fox News take on the company's CEO, Roger Ailes, in an effort to overthrow the toxic atmosphere and culture of sexual harassment.
Bombshell boasts stellar performances from its star-studded trio. Theron completely disappears into the role of Megyn Kelly, her voice and appearance completely unrecognisable with the help of expert prosthetics. To its credit, the film doesn't completely shy away from the less appealing aspects of Kelly's character (namely her severely questionable racial views) but neither does it dig deep enough into what makes her a figure of controversy in order to ensure that we sympathise with her and the right-wing employees at Fox. Robbie's fictional composite character, Kayla Pospisil, represents all of young, ambitious women working at the network who fall prey to Ailes' predatory behaviour whilst Kidman's portrayal of Gretchen Carlson, who instigates his eventual downfall, is arguably the least impactful despite her pivotal position in the story.
The film is rightly compared to the likes of The Big Short (written by Jay Roach, the director of Bombshell) and Vice, two recent releases that focus on events that made waves not only in the media, but in the world. It employs many of the same narrative devices that The Big Short did, namely direct address to camera and scathing, on-the-nose dialogue, suggesting a status of satire. However, the film's dramatic moments (and there are many which are effectively uncomfortable) give the story a completely different edge and the competing, uneven tones fail to form a cohesive viewing experience.
Robert Eggers established himself as an auteur on the rise with his critically acclaimed 2015 horror The Witch and now with his long-awaited follow-up The Lighthouse, he is now a proven master of mood and tension. Shot in black and white with a 1.19:1 aspect ratio, the visual language imbues the films with an immediate atmosphere, capturing the harsh conditions on the remote island in all of its visceral and brutal beauty. The violent weather and challenging terrain would be enough to threaten to unravel any person, but when bolstered with a potentially deadly power struggle and increasing confinement, insanity is a near certainty. Eggers never lets us relax, employing traditional jump-scares and creating an ever-present feeling that something is afoot on the island - and its two mysterious inhabitants contribute heavily to this sensation.
A Beautiful Day in the Neighbourhood
Director: Marielle Heller
Cast: Tom Hanks, Matthew Rhys, Susan Kelechi Watson, Chris Cooper
Synopsis: Cynical investigative journalist Lloyd Vogel is given an assignment to profile Fred Rogers, aka Mr Rogers. Initially skeptical and disbelieving that anyone could be as relentlessly kind-hearted as Mr Rogers, Lloyd's jaded outlook is slowly transformed by the television star's empathy and decency and he must confront his own painful trauma as a result.
When it comes to casting the most inoffensive, kind and caring figure in American entertainment, there is no actor more suitable than Tom Hanks. The Oscar winner, bonafide movie star and notorious nice guy of Hollywood is pitch-perfect in a role that seems tailor-made to his persona. Rogers' understanding and sincere desire to help others and allow them to heal enter Lloyd's life at a time when these qualities were sorely needed. Not only does Hanks capture Fred's immense warmth, the effects of which are felt by everyone he encounters, but also his emotional intelligence. During his interviews with Lloyd, the children's entertainer often makes his interviewer the subject, encouraging him to open up about his painful past and ensuring his woes are received with a sympathetic ear.
Marielle Heller's sensitive and unobtrusive direction allows for emotional intimacy to be reached, but unfortunately the script is too conventional and contrived to truly make these moments soar or impact deeply. The scene in which Lloyd is assigned the profile of Mr. Rogers unfolds in an achingly predictable fashion. Meanwhile the fantastical sequences where Lloyd envisions himself in an episode of Rogers's show fail to gel with the dramatic tone of the rest of the film and their presence is a jarring conclusion.
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Director: Jay Roach
Cast: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Alison Janney
Synopsis: Based on the true story, a group of women working at Fox News take on the company's CEO, Roger Ailes, in an effort to overthrow the toxic atmosphere and culture of sexual harassment.
The film is rightly compared to the likes of The Big Short (written by Jay Roach, the director of Bombshell) and Vice, two recent releases that focus on events that made waves not only in the media, but in the world. It employs many of the same narrative devices that The Big Short did, namely direct address to camera and scathing, on-the-nose dialogue, suggesting a status of satire. However, the film's dramatic moments (and there are many which are effectively uncomfortable) give the story a completely different edge and the competing, uneven tones fail to form a cohesive viewing experience.
The Lighthouse
Director: Robert Eggers
Cast: Robert Pattinson, Willem Dafoe
Synopsis: Two lighthouse keepers stationed in New England in the 1890s attempt to maintain their sanity as they spend months together in isolation.
Robert Eggers established himself as an auteur on the rise with his critically acclaimed 2015 horror The Witch and now with his long-awaited follow-up The Lighthouse, he is now a proven master of mood and tension. Shot in black and white with a 1.19:1 aspect ratio, the visual language imbues the films with an immediate atmosphere, capturing the harsh conditions on the remote island in all of its visceral and brutal beauty. The violent weather and challenging terrain would be enough to threaten to unravel any person, but when bolstered with a potentially deadly power struggle and increasing confinement, insanity is a near certainty. Eggers never lets us relax, employing traditional jump-scares and creating an ever-present feeling that something is afoot on the island - and its two mysterious inhabitants contribute heavily to this sensation.
The film is a two-man showdown and Pattinson and Dafoe verify themselves as formidable opponents. Both actors operate at the height of their talents and bring the antagonist dynamic that the characters share to uncomfortable life. Ephraim (Pattinson) arrives on the island and is instantly at the mercy of Thomas (Dafoe), an elderly and bitter man. He gives Ephraim all of the tedious and thankless jobs to perform, berating him if they do not meet his impossibly high standards and jibing him when he is in better spirits. The tone of their relationship shifts continually from odd-couple to adversaries, the dialogue ranging from darkly comedic to frighteningly deranged without missing a beat. This challenging partnership is embraced fully by both actors and they effortlessly grasp the script's complexities and its intricate period dialogue.
A Beautiful Day in the Neighbourhood
Director: Marielle Heller
Cast: Tom Hanks, Matthew Rhys, Susan Kelechi Watson, Chris Cooper
Synopsis: Cynical investigative journalist Lloyd Vogel is given an assignment to profile Fred Rogers, aka Mr Rogers. Initially skeptical and disbelieving that anyone could be as relentlessly kind-hearted as Mr Rogers, Lloyd's jaded outlook is slowly transformed by the television star's empathy and decency and he must confront his own painful trauma as a result.
When it comes to casting the most inoffensive, kind and caring figure in American entertainment, there is no actor more suitable than Tom Hanks. The Oscar winner, bonafide movie star and notorious nice guy of Hollywood is pitch-perfect in a role that seems tailor-made to his persona. Rogers' understanding and sincere desire to help others and allow them to heal enter Lloyd's life at a time when these qualities were sorely needed. Not only does Hanks capture Fred's immense warmth, the effects of which are felt by everyone he encounters, but also his emotional intelligence. During his interviews with Lloyd, the children's entertainer often makes his interviewer the subject, encouraging him to open up about his painful past and ensuring his woes are received with a sympathetic ear.Marielle Heller's sensitive and unobtrusive direction allows for emotional intimacy to be reached, but unfortunately the script is too conventional and contrived to truly make these moments soar or impact deeply. The scene in which Lloyd is assigned the profile of Mr. Rogers unfolds in an achingly predictable fashion. Meanwhile the fantastical sequences where Lloyd envisions himself in an episode of Rogers's show fail to gel with the dramatic tone of the rest of the film and their presence is a jarring conclusion.
The Personal History of David Copperfield
Director: Armando Iannucci
Cast: Dev Patel, Peter Capaldi, Hugh Laurie, Tilda Swinton, Ben Whishaw
Synopsis: Based on the Charles Dickens novel of the same name, The Personal History of David Copperfield chronicles the life of the titular character from childhood to maturity and the friends, family and enemies that he makes along the way.
David encounters a whole host of colourful characters on his journey, brought to life by some of Britain's finest actors. Comedy legend Hugh Laurie wonderfully underplays the eccentricities of Mr. Dick, the lodger of David's similarly kooky aunt Bestsey (a delightful Swinton), whose greatest grievance in life is the litany of donkeys that parade across her land. Before meeting his aunt, David is taken under the wing of the chaotic Mr Micowber and his family who continually contend with creditors who seek to recover their mounting debt. Despite a charming performance by Dev Patel in the lead role, David Copperfield is often overshadowed by a roster of competing characters and the numerous dynamics that they share.
However, the multitude of characters can cause distractions and the frequency at which they exit the story momentarily and then reappear is discombobulating, suggesting a strain to fit in the novel's 600 pages in just under two-hours. Director and co-writer Armando Iannucci (known for his work on Alan Partridge, The Thick of It, Veep and most recently 2017's The Death of Stalin) adapts the material with a gentle and warm approach, seemingly eschewing the biting wit and satirical slant that is typically associated with his projects and featuring all of the film's funniest moments in its marketing. Unfortunately, the film is not very memorable or impressive and renders for a subdued, underwhelming experience
Director: Armando Iannucci
Cast: Dev Patel, Peter Capaldi, Hugh Laurie, Tilda Swinton, Ben Whishaw
Synopsis: Based on the Charles Dickens novel of the same name, The Personal History of David Copperfield chronicles the life of the titular character from childhood to maturity and the friends, family and enemies that he makes along the way.
David encounters a whole host of colourful characters on his journey, brought to life by some of Britain's finest actors. Comedy legend Hugh Laurie wonderfully underplays the eccentricities of Mr. Dick, the lodger of David's similarly kooky aunt Bestsey (a delightful Swinton), whose greatest grievance in life is the litany of donkeys that parade across her land. Before meeting his aunt, David is taken under the wing of the chaotic Mr Micowber and his family who continually contend with creditors who seek to recover their mounting debt. Despite a charming performance by Dev Patel in the lead role, David Copperfield is often overshadowed by a roster of competing characters and the numerous dynamics that they share.However, the multitude of characters can cause distractions and the frequency at which they exit the story momentarily and then reappear is discombobulating, suggesting a strain to fit in the novel's 600 pages in just under two-hours. Director and co-writer Armando Iannucci (known for his work on Alan Partridge, The Thick of It, Veep and most recently 2017's The Death of Stalin) adapts the material with a gentle and warm approach, seemingly eschewing the biting wit and satirical slant that is typically associated with his projects and featuring all of the film's funniest moments in its marketing. Unfortunately, the film is not very memorable or impressive and renders for a subdued, underwhelming experience
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