February Round Up
Emma
Director: Autumn de Wilde
Cast: Anya Taylor-Joy, Johnny Flynn, Josh O'Connor, Callum Turner, Mia Goth, Miranda Hart, Bill Nighy
Synopsis: In 1800s England, Emma Woodhouse, a well-intentioned but self-centred, takes it upon herself to meddle in the love lives of her friends.
The film and novel's titular character exhibits many traits that would pose a challenge for any actress to play; she's clever but naive, helpful but selfish and spoilt yet adored. These dichotomies create for a very spiky role that isn't always entirely likeable but lead Anya Taylor-Joy (The Witch, Split) imbues all of these qualities in a winning performance. After introducing her former governess Miss Taylor to Mr Weston that led to their marrying, Emma concludes that she has a proven talent for matchmaking and decides to remedy her friends' lonely hearts. Emma befriends Harriet Smith (a fantastic Mia Goth, giving the character a timid delicacy) and makes her her pet project. She sets her sights on pairing Harriet with vicar Mr. Elton, completely ignoring the chemistry and genuine connection that her friend has with a local tenant farmer. Emma considers her interfering intentions pure and virtuous but her conduct is myopic. Taylor-Joy captures the character's deliberate oversights and insensitivity perfectly, namely during a scene where she humiliates the oafish but harmless Miss Bates (Hart) in front of a large group.
Emma is a classic that has been brought to the big screen numerous times and each adaptation has felt decidedly distinct from the last. In an attempt to differentiate, director Autumn de Wilde (known prominently for her photography and work on music videos) has brought her sugary sweet vision to life. High society and the English countryside has never looked so delicious and the aesthetic decisions, lavish costumes and luxurious set design all contribute to a very vivd, good-looking film. De Wilde also introduces a touch of screwball comedy sensibility that isn't present in Austen's novel. However, the tone is never quite pushed far enough to make this particular adaptation stand proud and tall above the rest.
Dark Waters
Director: Todd Haynes
Cast: Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Camp, Victor Garber
Synopsis: Attorney Robert Bilott discovers a connection between a growing number of unexplained deaths to a history of pollution caused by one of the world's largest and most powerful corporations. In an effort to expose the truth, Robert risks his career, family and his own life.
For anyone familiar with the previous work of Todd Haynes (the director tends to focus on the fantastical, sexuality and identity), a gritty drama based on true events seems like an incongruent match for his typical vision. Whilst Dark Waters is, largely, a by-the-numbers legal thriller, that doesn't take away the story's truly gripping execution. Based on the 2016 New York Times Magazine article "The Lawyer Who Became DuPont's Worst Nightmare, Robert Bilott finds himself drawn into a case about environmental pollution that has subsequently caused the death and illnesses of people and animals in Parkersburg, West Virginia. In his relentless and bleak pursuit of the truth, Robert encounters a litany of strife and setbacks despite the mounting evidence to support his case. He is ostracised from his community and DuPont, with their staggering influence, continually move the goal posts every time Robert makes promising progress. It's a sobering portrayal of the legal system and the power that giant corporations hold, but it gives us hope to know that as long as there are people around like Robert Bilott, there is a fighting chance that justice will be served.
Mark Ruffalo, who serves as an executive producer and optioned the rights to the article years ago, is the perfect vehicle to front a film about exposing environmental pollution and holding those responsible accountable as his real-life views and politics strongly echo these beliefs. Ruffalo conveys the character's righteousness and passion in a legal setting whilst also expertly portraying the toll taken on Robert's health, relationships and career as he is faced with insurmountable odds. Anne Hathaway, despite her talent and calibre, is given a thankless role as an archetypal concerned spouse of the leading man and the actress does little to make her character more interesting or dynamic than what is written for her on the page.
The Invisible Man
Director: Leigh Whannell
Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Oliver Jackson
Synopsis: After the apparent suicide of her wealthy and abusive ex-boyfriend, Cecilia becomes convinced that she is being stalked by him. After discovering that he has devised a technology to turn him invisible and with the police refuting her claims, Cecilia has no choice but to take matters into her own hands.
Warner Brothers initially intended The Invisible Man as an entry into their monster cinematic universe, with Johnny Depp to portray the titular role. However, as 2017's The Mummy starring Tom Cruise flopped financially and critically, plans for the shared universe were scrapped in favour of an individual and tailored approach to storytelling. This creative change in reaction to The Mummy's failure was a blessing in disguise, allowing for a singular voice to emerge and a clever, current reimagining of the novel's plot. Cecilia (Moss), a survivor of domestic abuse at the hands of her scientist, wealthy and manipulative boyfriend Adrian (Jackson), struggles with intense anxiety after escaping his clutches. She refuses to step outside and is suspicious of the most innocent, everyday occurrences like a jogger on the street. Her close friend James (Hodge) and his teenage daughter Sydney (Reid) offer endless support, but even their reassurance of safety cannot provide comfort to Cecilia after her unimaginable ordeal. Upon discovering that Adrian has committed suicide and has left her a significant amount of money in his will, Cecilia begins to slowly relax and believes that her troubles will soon be behind her. But as she realises that she is being watched by someone that she can't see, she understands that they have only just begun.
Whilst rooted in very real concerns, the aspects of the plot that delve into the technology that allows Cecilia's ex to become invisible can take some camp and ridiculous turns. However, leading lady Elisabeth Moss ensures that the dramatic stakes are kept high with a phenomenal performance. In a nail-biting opening sequence that shows Cecilia trying to make a quiet escape from Adrian's house in the middle of the night, Moss exudes every ounce of fear and tension that the audience should be experiencing. As the film goes on and the character transitions from timid victim to a relentless pursuer of the truth, Moss arms herself with a steely resilience as Cecilia seeks to prove herself right and end Adrian's control over life. This timely, feminist take on a classic horror delivers thrills in the traditional sense of jump scares and sustained threat, but also in the portrayal of its lead character's painful circumstance.
EB
Director: Autumn de Wilde
Cast: Anya Taylor-Joy, Johnny Flynn, Josh O'Connor, Callum Turner, Mia Goth, Miranda Hart, Bill Nighy
Synopsis: In 1800s England, Emma Woodhouse, a well-intentioned but self-centred, takes it upon herself to meddle in the love lives of her friends.
The film and novel's titular character exhibits many traits that would pose a challenge for any actress to play; she's clever but naive, helpful but selfish and spoilt yet adored. These dichotomies create for a very spiky role that isn't always entirely likeable but lead Anya Taylor-Joy (The Witch, Split) imbues all of these qualities in a winning performance. After introducing her former governess Miss Taylor to Mr Weston that led to their marrying, Emma concludes that she has a proven talent for matchmaking and decides to remedy her friends' lonely hearts. Emma befriends Harriet Smith (a fantastic Mia Goth, giving the character a timid delicacy) and makes her her pet project. She sets her sights on pairing Harriet with vicar Mr. Elton, completely ignoring the chemistry and genuine connection that her friend has with a local tenant farmer. Emma considers her interfering intentions pure and virtuous but her conduct is myopic. Taylor-Joy captures the character's deliberate oversights and insensitivity perfectly, namely during a scene where she humiliates the oafish but harmless Miss Bates (Hart) in front of a large group.Emma is a classic that has been brought to the big screen numerous times and each adaptation has felt decidedly distinct from the last. In an attempt to differentiate, director Autumn de Wilde (known prominently for her photography and work on music videos) has brought her sugary sweet vision to life. High society and the English countryside has never looked so delicious and the aesthetic decisions, lavish costumes and luxurious set design all contribute to a very vivd, good-looking film. De Wilde also introduces a touch of screwball comedy sensibility that isn't present in Austen's novel. However, the tone is never quite pushed far enough to make this particular adaptation stand proud and tall above the rest.
Dark Waters
Director: Todd Haynes
Cast: Mark Ruffalo, Anne Hathaway, Tim Robbins, Bill Camp, Victor Garber
Synopsis: Attorney Robert Bilott discovers a connection between a growing number of unexplained deaths to a history of pollution caused by one of the world's largest and most powerful corporations. In an effort to expose the truth, Robert risks his career, family and his own life.
For anyone familiar with the previous work of Todd Haynes (the director tends to focus on the fantastical, sexuality and identity), a gritty drama based on true events seems like an incongruent match for his typical vision. Whilst Dark Waters is, largely, a by-the-numbers legal thriller, that doesn't take away the story's truly gripping execution. Based on the 2016 New York Times Magazine article "The Lawyer Who Became DuPont's Worst Nightmare, Robert Bilott finds himself drawn into a case about environmental pollution that has subsequently caused the death and illnesses of people and animals in Parkersburg, West Virginia. In his relentless and bleak pursuit of the truth, Robert encounters a litany of strife and setbacks despite the mounting evidence to support his case. He is ostracised from his community and DuPont, with their staggering influence, continually move the goal posts every time Robert makes promising progress. It's a sobering portrayal of the legal system and the power that giant corporations hold, but it gives us hope to know that as long as there are people around like Robert Bilott, there is a fighting chance that justice will be served.Mark Ruffalo, who serves as an executive producer and optioned the rights to the article years ago, is the perfect vehicle to front a film about exposing environmental pollution and holding those responsible accountable as his real-life views and politics strongly echo these beliefs. Ruffalo conveys the character's righteousness and passion in a legal setting whilst also expertly portraying the toll taken on Robert's health, relationships and career as he is faced with insurmountable odds. Anne Hathaway, despite her talent and calibre, is given a thankless role as an archetypal concerned spouse of the leading man and the actress does little to make her character more interesting or dynamic than what is written for her on the page.
The Invisible Man
Director: Leigh Whannell
Cast: Elisabeth Moss, Aldis Hodge, Storm Reid, Harriet Dyer, Michael Dorman, Oliver Jackson
Synopsis: After the apparent suicide of her wealthy and abusive ex-boyfriend, Cecilia becomes convinced that she is being stalked by him. After discovering that he has devised a technology to turn him invisible and with the police refuting her claims, Cecilia has no choice but to take matters into her own hands.
Warner Brothers initially intended The Invisible Man as an entry into their monster cinematic universe, with Johnny Depp to portray the titular role. However, as 2017's The Mummy starring Tom Cruise flopped financially and critically, plans for the shared universe were scrapped in favour of an individual and tailored approach to storytelling. This creative change in reaction to The Mummy's failure was a blessing in disguise, allowing for a singular voice to emerge and a clever, current reimagining of the novel's plot. Cecilia (Moss), a survivor of domestic abuse at the hands of her scientist, wealthy and manipulative boyfriend Adrian (Jackson), struggles with intense anxiety after escaping his clutches. She refuses to step outside and is suspicious of the most innocent, everyday occurrences like a jogger on the street. Her close friend James (Hodge) and his teenage daughter Sydney (Reid) offer endless support, but even their reassurance of safety cannot provide comfort to Cecilia after her unimaginable ordeal. Upon discovering that Adrian has committed suicide and has left her a significant amount of money in his will, Cecilia begins to slowly relax and believes that her troubles will soon be behind her. But as she realises that she is being watched by someone that she can't see, she understands that they have only just begun.Whilst rooted in very real concerns, the aspects of the plot that delve into the technology that allows Cecilia's ex to become invisible can take some camp and ridiculous turns. However, leading lady Elisabeth Moss ensures that the dramatic stakes are kept high with a phenomenal performance. In a nail-biting opening sequence that shows Cecilia trying to make a quiet escape from Adrian's house in the middle of the night, Moss exudes every ounce of fear and tension that the audience should be experiencing. As the film goes on and the character transitions from timid victim to a relentless pursuer of the truth, Moss arms herself with a steely resilience as Cecilia seeks to prove herself right and end Adrian's control over life. This timely, feminist take on a classic horror delivers thrills in the traditional sense of jump scares and sustained threat, but also in the portrayal of its lead character's painful circumstance.
EB
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