Widows

Tags

2010's, Bryan Tyree Henry, Carrie Coon, Colin Farrell, Cynthia Erivo, Daniel Kaluuya, Drama, Elizabeth Debicki, Jacki Weaver, Liam Neeson, Michelle Rodriguez, Robert Duvall, Steve McQueen, Thriller, Viola Davis, Widows

Director

Steve McQueen

Starring

• Viola Davis as Veronica Rawlings
• Michelle Rodriguez as Linda
• Elizabeth Debicki as Alice
• Cynthia Erivo as Belle
• Bryan Tyree Henry as Jamal Manning
• Daniel Kaluuya as Jatemme Manning
• Colin Farrell as Jack Mulligan
• Robert Duvall as Tom Mulligan
• Jacki Weaver as Agnieska
• Liam Neeson as Harry Rawlings
• Carrie Coon as Amanda

A reinterpretation of a Lynda La Plante novel that was also a television series in the 80’s, Widows, as directed by Steve McQueen is an enthralling and character driven slow burn of a heist thriller and drama with superb acting.

In Chicago, a heist that was organised by Harry Rawlings goes horribly wrong and results in his and the other members of the criminal group being killed. Following this, Harry’s widow Veronica is threatened by mob boss Jamal Manning , who Harry stole from and who wants money back to finance his campaign to run for alderman. He warns her to get $2 million to pay him back soon or suffer the consequence, which will most likely come in the form of his terrifying brother Jatemme . His rival for his desired position  is Jack Mulligan, a slimy, spoilt politician who wants to step out of his father’s shadow who also will figure in a certain capacity of the story. After acquiring Harry’s notebook of plans for another heist, Veronica contacts the widows of the other dead men. Linda, who owns a dress shop is in a similar predicament as her husband sold her business without much thought for her and Alice is a battered young woman who is strapped for cash and harangued by a harridan of a mother. One widow isn’t interested in it, so Veronica enlists the help of the fierce Belle, who it just so happens to be Linda’s babysitter. She plans to relocate and could do with a chunk of money to help with this. The plans of the heist starts to form with the group, but various things throw up stumbling blocks and set in motion what could be deadly for the ladies if they don’t succeed.

Steve McQueen is already an established director who is on fire here, bringing his knack for looking at dramatic subject matter and blending it with some really tight tension. We get a plot that seems straightforward, but is actually very twisty and frequently takes you by surprise. We also get commentary on many themes such as racism, hypocrisy , sexism and crime, but thankfully they are given good rendering and not heavy-handed. McQueen clearly has something to say and his cinematic talents lend themselves well to his vision. One great example is Mulligan moving from an impoverished area to his plush house which is a minute away. The fact that the windows of his car are blacked out show how little he and sometimes others understand social divide. This is a heist thriller with a difference as the main characters are not professionals in the art of stealing and the heist itself is not the most important part of the film. Undoubtedly, it forms a ticking time bomb for the characters but it’s watching how these people react to the seemingly impossible task ahead that provides Widows with its biggest impact. We get to know these women and their lives and what ultimately brings them together. They don’t want to be friends or even know each other that well, but all are drawn into a certain sisterhood of unfortunate circumstance that leaves them with no choice but to resort to planning a heist. These are women who are realistic and not simply superheroes, a film like this is too good to go down that route to making it a matter of fluffy caper. There are real stakes here and ones dripping with double-crossing danger. Some may take issue with the gradual build up, but I thought it added more dimension to the film as we viewed growth within characters and their actions. McQueen should be commended for how he keeps all the stories and arcs spinning in tune and given time to breathe. It could have fell apart as there is sometimes a lot going on in Widows, but Steve McQueen and the screenplay from him and Gillian Flynn keep us firmly rooted and invested in the ways they link. The editing, which cuts back and forth in time at various intervals and can be choppy one minute and contemplative the next is something to admire. And set against a building and rumbling score from Hans Zimmer, Widows particularly soars.

A string in Widow’s ever impressive is the ensemble cast, which is simply to die for. Viola Davis heads proceedings with an intimidating and grim seriousness, that also allows for humanity and sadness emerging. Davis rocks the role of a woman who has lost everything and becomes an unlikely but indomitable presence in something she never thought she’d have to do. It’s when she doesn’t say anything that she truly comes alive; her face a canvas of subtle and nuanced emotion. It’s a very fine performance by an always impressive actress who it appears is incapable of disappointing. Michelle Rodriguez is a little softer here than the usual tough chick she plays and it works surprisingly well. I just wish she’d get more roles that blend her toughness with that something else like the one displayed here. Elizabeth Debicki is another standout as the often needy and almost childlike Alice, who it appears is incapable of having a relationship with anyone who won’t abuse or mistreat her. Debicki plays her like a broken down China doll, only later on she starts to harden herself and increasingly mature. Cynthia Erivo rounds out the main ladies with an abrasive attitude and no-nonsense visage that is palpable and strong from the moment we see her.

While it is the ladies of the ensemble who take the lion’s share of screen time, the men also show they are no slouches. Particularly of note is rising star Daniel Kaluuya who bristles with an unnerving swagger and alarming intensity. He puts you on edge throughout Widows and it’s a big credit to him that you feel that way. Bryan Tyree Henry also has an intimidating nature, but one that is tempered with shrewd smarts. Colin Farrell is really fleshed out as a conflicted politician who almost expects everything simply because of standing but also a desire to escape the way his father thinks. It’s a fine balancing act and one that is played well opposite the always watchable Robert Duvall. Liam Neeson, mostly seen in flashback, is like a spectre on proceedings as he is the one who instigated everything and has his fingers over all. Also here is Jacki Weaver, who plays in a short but memorable time the vile and suffocating mother of Alice, whose idea of trying to help is by attempting to coerce her into prostitution. Carrie Coon may be given the least amount of screen time but from what we see, her presence figures unexpectedly into things.

With a focus on characters and depth, Widows earns high points and is simply put, a very well made film with heart and tension. Steve McQueen crafts this engaging and twisty thriller drama that must be seen.

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A Star Is Born

Tags

2010's, A Star Is Born, Bradley Cooper, Drama, Lady Gaga, Musical, Sam Elliott

Director

Bradley Cooper

Starring

• Bradley Cooper as Jackson Maine
• Lady Gaga as Ally
• Sam Elliott as Bobby Maine

The fourth version of a classic story of two careers in opposite directions, A Star Is Born certainly has pedigree. And though some may have scratched their heads at why another remake should be done, I’m sure they’d agree that this version sits up there with the best of them, thanks to what Bradley Cooper and Lady Gaga do with it.

Jackson Maine is a country rock star who has seen better days. Plagued by tinnitus and an addiction to booze and pills, his life is going through the motions. Drunk and in the middle of touring, Jackson stops in a drag bar. It is here he encounters Ally; a young woman in a dead-end job with dreams of being someone. She’s a talented singer and has a tough personality but is crippled with insecurity over the shallow people in the music industry who have dismissed her appearance in the past. Jackson is immediately struck by her and she is curious too. They grow closer to each other and Jackson helps Ally make a leap for stardom. They fall in love and marry, with Ally being a good influence on Jackson. She eventually becomes famous after Jackson invites her on stage to perform. Despite her initial nerves, she blows everyone away with her voice. Yet as stardom beckons, people want to mould her into something else and as her success soars, Jackson’s falls. Ally tries to retain her individuality, but her pushy manager has her switch her act and lose herself more and more. This causes an immense feeling of jealousy and resentment that has Jackson reaching for the booze and pills again. All of it hurtles towards tragedy for the couple as one career rises and the other inevitably falls.

Bradley Cooper makes a remarkably involving and emotional movie with A Star Is Born. He gets straight to the heart of the material and the themes of celebrity and tragedy with cracking results. It’s hard to believe that this is his directing debut, as he displays a deft understanding of film making and how to bring us close to the story in many ways. This version feels a bit more gritty, raw and stripped back and is all the better for that. That’s not to say it doesn’t have its nice and quiet moments though and many of this scenes stand out for their impact that has darkness but some lighter touches too. But where the film shines brightest is in the performance numbers. With a soundtrack written predominately by the two leads, A Star Is Born is brimming with show stopping tunes with a deeply personal undertone. One of the best is ‘Shallow’, a duet between Cooper and Gaga where both give it their all and Gaga telegraphs Ally’s burgeoning belief in herself. This song that packs the biggest emotional wallop however is ‘I’ll Never Love Again’. Seriously if you aren’t weeping during that sequence, you’ve obviously taken leave over your heart. a restless camera that often has extreme close-ups of faces and actions is employed throughout A Star Is Born. We are put into the action as love blooms for Ally and Jackson, but resentment grows as Ally’s career takes off and Jackson spirals further out of control. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. It’s been told many times but when done right, like it is here, it really soars.a restless camera that often has extreme close-ups of faces and actions. We are put into the action as love blooms but so does resentment and addiction which spiral out of control. Some may find it to up close in the way it’s shot and that time flies a bit too quickly sometimes , but it’s still mightily effective storytelling despite some minor quibbles. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. At the centre is a tragic love story that is strongly told and fraught with melancholy. It’s been told many times but when done right, like it is here, it really goes to new heights.

Bradley Cooper turns in one of his strongest performances in his career. Over the last few years, Cooper has steadily become a very reliable actor and a versatile one. Here, with his usually amiable voiced lowered considerably to a growl( and surprising musical chops), he displays such raw anger, sadness and tiredness that is very believable. Jackson is someone who has success but usually doesn’t see it and instead drowns in pity. Ally may represent the light for his safety, but Cooper finds that Jackson is so wound up and dependent on addiction that the once bright spark will eventually go out. Cooper is nothing short of a knockout here and this is extremely excellent work from him. Any worries that Lady Gaga’s image as a pop star will overshadow her performance are put to rest immediately as we witness her immense talent for acting by drawing on some of her own experiences. We all know she can sing, but here she takes it to another level and rocks us to the core. And her acting is one of the biggest assets of this movie. With personality, strength and vulnerability, she plays Ally tremendously as he feels so real and natural in this film, signifying her skill in this arena. We observe someone growing in confidence but being faced by many trials along the way and it’s played with an authentic and engaging edge. Gaga is at the top of her game with a compelling and sympathetic turn that announces great promise in an acting career. Cooper and Lady Gaga make for an incredible couple as their chemistry is immediate and extremely genuine that we feel the emotional highs and lows of their lives. Sam Elliott, of the moustache and grizzled, deep voice, steals whatever scenes he appears in as Jackson’s aggrieved brother. He’s been there for his brother but has a very fractious relationship with him. Elliott shows him to be the person who says it like it is often bluntly, but ultimately wanting to help his brother in the long run.

An excellent version of a classic story with two amazing central performances and  emotional material, A Star Is Born is strong movie making that has an impact on you. And after watching this excellent version, I’m very tempted to see the other interpretations again.

Don’t Breathe

Tags

2010's, Daniel Zovatto, Don’t Breathe, Dylan Minnette, Fede Alvarez, Horror, Jane Levy, Stephen Lang

Director

Fede Alvarez

Starring

• Jane Levy as Rocky
• Dylan Minnette as Alex
• Daniel Zovatto as Money
• Stephen Lang as The Blind Man

Don’t Breathe is an economical home invasion horror with jolts of terror throughout. Best watch this movie with the lights off for the full effect.

In Detroit, a trio of teenagers are perpetrating a number of robberies. They are Money, Rocky and Alex. Each of them does it for different reasons. Money is a major hothead with a chip on his shoulder , whereas Rocky wants money so she and her sister can escape her mother and Alex is something of a tag along. When their latest heist and the things they procure don’t sell or bring in a profit, they think it’s time to step it up. Money hears of a possibly lucrative heist that should be easy enough. A former army veteran, who was blinded in conflict, supposedly got a big cash settlement when his daughter was killed by a driver some time before. Although Alex is resistant to the idea, he ultimately goes along with their plan. Once they get through the locks and evade the snarling dog, their plan seems to fall into motion. Just as quickly, the Blind Man wakes up and shows how deadly he can be by murdering Money. For Rocky and Alex, things have gone from bad to worse. What ensues is a terrifying night of attempted survival as the remaining two realise that the Blind Man is really not the person they should have taken for an easy target.

Fede Alvarez brings us an unrelenting ride of tension and heart-pounding horror. He is clearly a student of the genre who knows exactly the buttons to press to get a reaction from the audience. Alvarez gets that silence is golden and wisely limits dialogue, to really stress the situation if the character and how the tiniest noise will alert the Blind Man to their presence. And though there have been a whole host of home invasion movies in the past, (some good and some bad), Don’t Breathe is definitely in the former category. And by having the people invading the house being the unwitting victims who are terrorised, the usual formula is flipped and the power goes to the antagonist. And speaking of antagonists, one could argue that the larcenous trio who  break into his house are just as bad as the man himself. Though once they reach the basement, things switch rapidly and you’re back on their side. Night vision plays a big part in creating the claustrophobic setting for the film, particularly when the teenagers are forced into darkness with barely a light for them to follow. It functions to show that the Blind Man more often than not has the upper hand on them which they come to discover.  Don’t Breathe can get really nasty when the occasion rings for it and in one instance, it’s very unexpected ( and this is coming from a seasoned horror viewer.) Those who have seen Don’t Breathe will know exactly to which bit I refer, but I won’t spoil it for those who haven’t viewed this twisted cat and mouse game of a movie. All I’ll say is twists come in plentiful fashion here. Sound design is heightened to coincide with the acute senses of the Blind Man, so every little creak of a floorboard or scurry of a footstep reverberates with maximum scares. The music of Don’t Breathe blends beautifully with the sound effects to create real ambience.

The trio, specifically Dylan Minnette and Jane Levy, show that their characters while committing crimes, are not all necessarily bad people. In particular, Levy stands out for her work as the terrified and determined Rocky, who realises she must fight a hell of a lot in order to survive. But it’s the main source of tension and terror that takes the acting plaudits. Stephen Lang, although he barely speaks, resonates with deep rooted menace and surprising agility. There is even some pity that he evokes in the central threat, but he works best when showcasing his keen senses and viciousness that won’t give up.

With a high load of tension and credible atmosphere on show, Don’t Breathe is a lean, mean horror perfect for this time of year in the run up to Halloween.

The Shallows

Tags

2010's, Blake Lively, Horror, Jaume Collet-Serra, The Shallows, Thriller

Director

Jaume Collet-Serra

Starring

• Blake Lively as Nancy Adams

An energetic, nail-biting horror thriller, The Shallows is entertaining in many ways. Originality is checked at the door and we are vibes a fun and at times terrifying fight for survival between woman and beast. This is the first entry into my Month of Horror.

Nancy Adams is a medical student who has traveled to Mexico in the wake of her mother’s death. She goes to a beach she knows her mum loved in order to honour her memory and avoid dealing with her father, who it seems is distant from her. She takes to the surf and is relaxing in the sun. After encountering a dying whale, a monstrous Great White Shark attacks her. Nancy’s leg is injured, but she manages to clamber up onto some rocks. Being a medical student, she treats her wound the best she can as terror sets in. Being miles from land and knowing that the tide will soon wash her away and her safety, she has to embrace an inner toughness and fight back in order to live in the face of the shark. The question is, just how long can Nancy survive as the tide turns and the shark comes looming?

Building on a simple prestige of the lone female being menaced by something horrible, Jaume Collet-Serra ratchets up the tension from the start. He drip feeds smidgeons of foreshadowing that something bad is going to happen among the glorious cinematography. The Shallows deserves kudos for its visual appeal, especially in the lighting and scenery. The lush surf is rendered gorgeously as a paradise before the predator comes calling for food. Plus, the technique of showing us the time and connecting Nancy with others, in this case a videophone, leads to some wonderfully nifty shots. Added to this are frequent close-ups on her face that display her resilience and terror in the face of horror. Now The Shallows isn’t a perfect movie, some areas lag, but it isn’t trying to be the best movie out there. What it wants to do is scare and excite, which it does with ruthless efficiency. It’s a B-movie with a little bit of that something extra. And it has touches of humour in the form of a Seagull that gravitates to Nancy and earns the nickname, ‘Steven Seagull’. The score is excellent at slowly carving out scares and the perilous journey that Nancy attempts to go on in order to survive the shark that is menacing her.

One of the best things in The Shallows is Blake Lively. Getting to grips with the physicality of the part, she also displays courage, heart and fierce steel as she does battle with the shark. Lively is a beauty and often her acting gets overlooked, but she shows here that she’s definitely more than a pretty face. In the hands of someone else, the part could have been just eye candy, but that’s not the case with Lively. It’s a commendable piece of work because the film largely rests on her athletic shoulders. Luckily, she is up to the task of it.

A tense and thrilling survival horror with a fine lead performance and terror at almost every corner, The Shallows is a movie that truly entertains and scares in equal measure.

The Handmaid’s Tale Season 2

Tags

2010's, Alexis Bledel, Ann Dowd, Cherry Jones, Elisabeth Moss, John Carroll Lynch, Joseph Fiennes, Madeline Brewer, Marisa Tomei, Max Minghella, O.T. Fagbenle, Samira Wiley, Sydney Sweeney, The Handmaid's Tale, The Handmaid’s Tale Season 2, Yvonne Strahovski

Expanding on from Margaret Atwood’s novel and opening up the universe created in Season 1, the second season of The Handmaid’s Tale provides immensely disturbing viewing for us. It’s gruelling but so hard to tear your eyes away from it. Caution, spoilers may well follow.

We pick up where Season 1 left off, with a pregnant Offred( Elisabeth Moss)being placed in a van and heading for an uncertain future. As it opens, she along with the other Handmaid’s who refused to stone one of their own, are taken to Fenway Park. They believe they will be hanged, but it’s a cruel act of manipulation by the powers that be. Thrown into gruelling torture by Aunt Lydia(Ann Dowd), it looks as if it’s more cruelty for all of them. More defiant than ever, Offred takes on the regime with attitude and stays it out in the hope that help will appear. Eventually, Offred is spared as Aunt Lydia discovers she is with child and exempt from punishment. With help from Nick( Max Minghella) , who is the father of her child, and the resistance, she manages to escape from her captivity. Shedding her Handmaid’s life and proclaiming herself as June, she has to contend with knowing that in order to properly escape she may have to leave the daughter she had taken from her.

June may attempt escape to the border, but it’s short lived and she is forced back into becoming the Handmaid Offred. Nick tries to help her but is sidelined by being “gifted” a wife named Eden(Sydney Sweeney). She’s a pious girl and seemingly a true believer for what Gilead stands for, but also sets up events in a tragic way. There Serena Joy(Yvonne Strahovski) is starting to scoff ever so slightly at the regime herself, but is very unpredictable in her attitudes towards Offred/June. Commander Fred( Joseph Fiennes) is his usual hypocritical self and putting on his show of self-righteousness for all to see. Meanwhile, Emily( Alexis Bledel), formerly Ofglen is in The Colonies for her disobedience. Here she must work day and night among contaminating waste with death always a shadow over her shoulder. She is joined by disturbed Janine(Madeline Brewer), who doesn’t quite understand the situation at hand after everything that’s been done to her. We also catch up with June’s husband Luke(O.T. Fagbenle) and best friend Moira(Samira Wiley), who escaped to Canada and are grappling with their own demons and survivor’s guilt. June may be broken along the way, but her desire to fight comes back gradually as she is once more asked to contend with surviving the regime and. Things take many turns as she approaches her due date.

The first season covered the novel, so with this sophomore effort, the producers and writers are going beyond the source material in different ways. And they pay off very well, though I’m sure many where unsure of whether it would pan out successfully. Certain parts from the novel that were absent from the debut season are present, but Season 2 is largely its own beast that takes the story in different directions. Thematically, Season 2 delves into guilt and the price of rebellion. June must contend with her actions having consequences on others and the devastation that fighting for what is just can bring. Duality features heavily, most prominently with June/Offred and the constant struggle of the two. It’s like a constant battle of which side will win out as the regime digs its claws into her and forces her to make a choice. Once more, the visuals are strongly composed and extremely evocative. Particularly striking are the oranges and burnt golds of The Colonies; a barren landscape almost in a permanent dusk where those who oppose Gilead are enslaved and made to work among toxic waste. It’s so cinematic and disturbing. Plus the ever-increasing close-ups provide the uncomfortable ferocity and horror of Gilead and how much of a toll it takes on the characters. Flashbacks detail the rise of Gilead and expand on the characters as they reflect on life before the takeover. June’s voice over may be limited a bit more this season, but whenever it’s there, it sure as hell does the job at capturing her inner feelings.

Just like the debut season, this second season is chock full of shocking moments. There are plenty that truly stick with you for their brutality, disturbing nature and power. The mock execution scene where the Handmaid’s are rounded up like cattle, have their mouths covered with muzzles and have nooses placed around their necks in what they believe to be their last moments is a stark and traumatising opening. Set to the sound of Kate Bush’s ‘This Woman’s Work’, it’s hard not to hold your breath. A ceremony where the Guardians of Gilead are awarded with wives who are a lot younger and basically children is chilling and totally horrifying.  One of the biggest moments of sadness and emotion is June being reunited with her daughter briefly, before she is ripped from her arms once more. It’s a gut punch to the system. And in another shocking moment, never have the repeated words “We’ve been sent good weather” been so devastating and alarmingly creepy. If anything, Season 2 ups the ante on violence and suffering. Many have criticised the increase in violence but I think The Handmaid’s Tale isn’t doing it for exploitation value, but for a cutting and harsh impact on the viewer. It’s an undoubtedly tough series to endure but it’s ultimately worth it.

Yet for all the hurt and anguish heaped upon us, hope is mixed in there in doses. The last shot hints at searing determination and immense changes to come for the characters and story. And boy did I dig it, though it will definitely divide many. My only little gripes are that some of the latter stages feel a tad rushed in the scheme of things and some things don’t go anywhere. But this is a tiny flaw in what is otherwise an arresting and disturbing series.

Elisabeth Moss is once more on powerful form; bringing out the sadness, rebellion, grief, guilt and survivor of June/Offred. The character is very much in two halves here and the strong Moss plays both of them wonderfully and with skill. There’s the fighter side of June that scoffs and will do anything to escape and then there’s Offred, the subservient vessel. Again Moss and her eyes are marvels at telegraphing varying emotions almost simultaneously. Yvonne Strahovski also continues to excellently convey the complex Serena Joy, who is by turns despicable bitch and perturbed woman realising her role in her own unhappiness. It’s a balancing act that she walks exquisitely. A slithering nastiness covers Joseph Fiennes and his interpretation of Commander Fred, who is not above abusing his power for his own benefit and spouts lies at every turn. He really becomes very vile and hateful this season and Fiennes is very adept at playing to that. Ann Dowd is once again a big standout, essaying the part of Aunt Lydia. While still brutal and very vicious, the chinks of humanity begin to come through and you see that she does have a care for the Handmaid’s, even if her treatment of them is abhorrent. Dowd is just so endlessly watchable in the role. Max Minghella is quietly conflicted as Nick, who must contend with his love for June and staying alive in the heat of the regime.

Alexis Bledel is seen a lot more than last season and capitalises on it with a stunning performance. Those blue eyes of hers are deployed in forms of rage, resistance and tragedy as we see the impact Gilead has had on her mind. She’s still a fighter at the end of the day and Bledel plays to that strength spectacularly. Madeline Brewer also returns as the haunted Janine; her wild eyes and strange mannerisms are all in order and successful. One of the season’s best weapons is the appearance of the youthful Sydney Sweeney. She plays the seemingly pious and brainwashed wife of Nick, whose naivety and sincerity is worrying but sets in motion different and irrevocable things. Sweeney is fascinating to watch as she registers that there is more to Eden than meets the eye. Although their capacities are reduced this season, both O.T. Fagbenle and Samira Wiley give great account of survivors guilt and the process of change. I just wished I saw a bit more of them. In cameo parts, Marisa Tomei as a punished Wife, John Carroll Lynch as a man persecuted for his sexuality and Cherry Jones as June’s fighting mother make their impacts felt. I must say the entire cast where at the top of their game here.

A searing, brutal and memorable series, the second season of The Handmaid’s Tale is alarmingly addictive even when it’s unsettling the hell out of you. You just want to know what happens next in the twisted world it so strikingly presents to us.

It

Tags

2010's, Andy Muschietti, Bill Skarsgård, Chosen Jacobs, Finn Wolfhard, Horror, It, Jack Dylan Grazer, Jaeden Lieberher, Jeremy Ray Taylor, Sophia Lillis, Stephen King, Wyatt Oleff

Director

Andy Muschietti

Starring

• Bill Skarsgård as Pennywise
• Jaeden Lieberher as Bill Denbrough
• Sophia Lillis as Beverly Marsh
• Finn Wolfhard as Richie Tozier
• Jeremy Ray Taylor as Ben Hanscom
• Jack Dylan Grazer as Eddie Kaspbrak
• Wyatt Oleff as Stan Uris
• Chosen Jacobs as Mike Hanlon

A very successful adaptation of the Stephen King classic, It has great development in characters alongside the horror that makes it both a coming of age tale and a creepy horror.

It’s the 80’s and in the town of Derry, Maine, everyone is shocked when youngster Georgie is taken and presumably killed by an unknown evil. His brother Bill feels guilty about it as he was too sick to go out and play with his brother the day of the horrible event. Bill finds some comfort in his group of friends; loudmouth Richie, quiet, skeptical Stan and hypochondriac Eddie, who are all outcasts in a way. Summer vacation begins and Bill is still refusing to believe that his brother is dead. But as summer continues, soon something sinister takes hold and begins tormenting him and his friends. Add to this that numerous children are going missing much in the way that Georgie did and the gang are spearheaded into investigation. Around this time, Beverly Marsh( who is derided by others for alleged promiscuity, but in actual fact is being abused by her father), becomes part of the group . The group is later joined by two other lost souls in the form of loner Ben and orphaned Mike. They become known as The Losers Club. All of them are plagued by terrifying visions; making them vow to unearth what it is that causes these terrifying occurrences. Along with this, each has a variety of issues of a personal nature to deal with on a daily basis. What they discover is that the thing that took Georgie is in fact a manifestation of fear, that often takes the form of an evil clown called Pennywise. It feeds on fear every twenty-seven years and it’s targets are children. It’s all a matter of if these seven kids can defeat such evil before it’s too late.

Andy Muschietti is an accomplished director and his effective and sturdy direction that gets to the heart of the battle to overcome evil and fear is one that truly captures the imagination. He makes the film a fun but frightening ride that has the time to invest you with the people populating it and can be emotionally in tune too. From the start, this manages to carve out its own triumph and stand out . It was previously adapted as a mini series that is held in high regard and at first I wasn’t sure whether this would work. But happily, it does work and marks itself as something excellent and different. Whereas the series had two timelines, this version sticks to a setting of the 80’s. The era proves very effective as a certain level of nostalgia is very apparent thanks to many pop culture references and the visuals. With strange angles and fine lighting, there’s a genuine atmosphere to It right from the start. The visual side is a major string in the bow of an impressive film and one I highly enjoyed. Quite a lot of scenes really stand out, particularly the ones of the fear inducing variety, such as Beverly being assaulted by stands of hair down the plug hole, an intense confrontation with the creature and a sensational finale in the sewer where battle commences. Crucially, It is just as much a coming of age story as it is one of horror. The kids all have their own issues to deal with along the way. From controlling mothers to abusive fathers and being an orphan, these tribulations can often be just as frightening as the approaching evil. I appreciated this approach that deepened the pre-adolescent characters and had me rooting for them. Which isn’t to say the horror moments aren’t effective, quite the opposite in fact. It all builds gradually, showing us Pennywise and other visions at first slowly and then with great momentum and maximum scares. And while CGI is employed, it never overshadow proceedings at all, if anything it enhances the terror at play. And Pennywise is a seriously eerie thing to behold it must be said. With a stomach churning voice and seriously terrifying appearance, he’s the stuff of nightmares. A sensational music score and sound design underline everything with creepiness and soul, largely stemming from how chilling it is and how amazingly it employs sonic trickery to unleash horror. The only niggle I have with the film is that it runs a bit too long. Other than that, I’m a massive fan.

The cast make for a fine ensemble, with the biggest impacts being made by Jaeden Lieberher as the leader of the club and Sophia Lillis portraying the only girl who captures the attention of all. But there is seriously no weak link in this talented cast of youngsters who each have a moment to shine. I really enjoyed all of their performances as they fleshed out their troubled characters brilliantly.  And of course there is Bill Skarsgård; ably stepping into Tim Curry’s shoes as the nightmarish Pennywise. He’s super disturbing and enthralling, relishing the sheer evilness of the part.

An accomplished and convincing horror, with a lot of humanity in it and characters you root, It is exemplary horror movie making with a heart.

A Quiet Place

Tags

2010's, A Quiet Place, Emily Blunt, Horror, John Krasinski, Millicent Simmonds, Noah Jupe, Thriller

Film Title

A Quiet Place

Director

John Krasinski

Starring

• John Krasinski as Lee Abbott
• Emily Blunt as Evelyn Abbott
• Millicent Simmonds as Regan Abbott
• Noah Jupe as Marcus Abbott

A horror thriller that taps into many fears and is ruthlessly tense throughout, A Quiet Place is terrifying and at times quite moving in how it examines people surviving in near silence from director/star John Krasinski.

The year is 2020 and blind creatures have overtaken most of the world. Despite having no sight, they hunt via hearing which is exceptionally advanced. Any significant noise can attract these beings to potential prey. The Abbott family( mother Evelyn, father Lee and three children, Regan, Marcus and Beau )are surviving the best they can in times of darkness and crippling fear. They communicate using sign language, which they know anyway because Regan is deaf. It appears that they are some of the last remaining humans given how abandoned and desolate everywhere around them is. Though they have survived for a long time, a tragic incident robs them of one of their children. When we pick up with the family again, they are living in a farmhouse and Evelyn is pregnant. As heads of the family, while terrified of day-to-day life, they are determined to protect their family by remaining as quiet as humanly possible. They have forged an existence for themselves, with many areas of the house insulated and cameras to observe outside. Lee is the main provider for them, going out to forage for food and attempting to fix Regan’s hearing aid. Evelyn is preparing for the birth of a child while raising her other two children, plus mourning the loss of one. Anxiety hangs in the air as Evelyn’s due date is approaching and the prospect of a baby terrifies all as it spells potential horror for all if they can’t remain quiet. And ever since the loss of one child, uncertainty has grown within the right family unit. But in this time of panic, can the family survive for much longer without becoming victims of the creatures?

Director and star John Krasinski crafts suspense and an uneasy atmosphere right from the beginning and keeps the nerves frazzled with efficiency. His direction is confident and skilled at scaring us and cranking up the tension as events continue. The pacing is just on the mark, building and building to a chilling and relentless last act that will have you gasping for breath with nervousness. I dare anyone to not feel panicked as the family are menaced by the scary creatures and they are separated. Sound and the ability to use it, which we can so often take for granted is crucial to this film as noises are both amplified and subdued. This gives the creepy effect of not being able to express things and the difficulties involved when we are robbed of this essential thing. Jolts of terror and As the family has to live in almost always silence, a lot of the story is told visually. We gain information from facial expressions, symbols and sign language, which gets us involved and has the attention from the start. The life these characters have crafted offers much in the way of intrigue, helping us realise just how precious sound and especially silence are in making sure you don’t become victims to the creatures that terrorise the characters. What surprises in A Quiet Place is that as well as being frightening, it has you emotionally invested too. If anything, the main theme is parental anxiety. It’s amplified here but nonetheless shines in presenting two parents doing whatever they can to shelter their brood from harm. Especially in the case of the mother being pregnant and the collective worry of what will happen when the child is born into this startling world. The creatures are fleetingly glimpsed at the start, but when revealed are truly alarming and well designed to be etched into the memory. Marco Beltrami is on score duty, ratcheting up the scares and overriding eeriness of the piece. And speaking of sound, the effects and design are sublime in dialing up creepiness and oodles of ambience. Every sound could possibly be the last for these characters so it’s imperative that noise is well used and the often deafening silence matters. Just like the characters, we become scared of sudden sound.

The relatively small cast all convince in this merciless horror film. John Krasinski and Emily Blunt, who are a married couple in real life, excel as the protective and resourceful parents. Using body language and facial expression, they get across the terror and will power of this mother and father who are doing whatever they can to ensure the safety of their children. The fact that they are married in real life adds to the closeness of the two and how they complement one another. Krasinski’s survivalist and Blunt’s warm, nurturing matriarch are fully realised and performed admirably. The two children in the film, Noah and Millicent Simmonds exceptionally convey the uncertainty and horror that’s thrust upon their young shoulders. Millicent Simmonds is especially marvellous as the daughter who is dealing with feelings of guilt and loss . The fact that Simmonds is also deaf in real life brings a lot of authenticity to her performance as well as her expressive face.

A nerve jangling exercise in tension, A Quiet Place sustains the interest and induces terror with its story and atmosphere. This is strong stuff from John Krasinski and marks him as a director to watch.

Big Little Lies

Tags

2010's, Adam Scott, Alexander Skarsgård, Big Little Lies, James Tupper, Jean-Marc Vallée, Jeffrey Nordling, Laura Dern, Nicole Kidman, Reese Witherspoon, Shailene Woodley, Zoë Kravitz

A suspenseful, occasionally darkly funny and very addictive series, Big Little Lies tackles the myth of perfection in a seemingly ideal place that unravels with a deep-seated mystery. Bolstered by superb work from the cast, primarily the ladies, Big Little lies pulls you in with its story and visuals. This review will contain some spoilers, but I promise not to ruin the big mystery.

In Monterey, California, a murder occurs. But we are not privy to who the victim is and why it ended with the taking of life. Flashing back to the start, we build a series of events within the picturesque surroundings that are dark and enigmatic. It all begins with the arrival of Jane Chapman(Shailene Woodley), a single mother  who enters the community with her son Ziggy at the beginning of the school year. She is befriended by the fierce Madeline Martha Mackenzie(Reese Witherspoon); a resident queen bee who prides herself on knowing everything and everyone. Jane also meets the elegant Celeste Wright(Nicole Kidman), a former lawyer who gave up her career to raise twin boys. All three are linked by children in the first grade and everything starts to happen on orientation day. Ziggy is accused of assaulting Amabella, the daughter of the highly strung business mum Renata(Laura Dern). This drives a wedge between people and Madeline draws a line in the sand as she’s never liked Renata and lets it be known. From that moment, things start to unravel for the women of the area. The lives of these women appear to be ideal, but scratching beneath the surface unearths another story.They all have their secrets that they attempt to keep under wraps, such as something dark in Jane’s past that she’s running away from, Madeline’s feelings that her daughter is slipping away from her( plus a past affair) and Celeste being in a volatile marriage where she is frequently abused by her husband Perry( Alexander Skarsgård )but can’t seem to leave him. With us knowing that someone is going to end up dead, things get darker and more revealing as the facade of perfection slips and the various events culminate in death for someone.

The first thing that gets your attention about Big Little Lies is the script. It’s both bitingly funny when focusing on society’s image of perfection and alternately darker in the next breath. Having the framing device of a gossiping Greek chorus of supporting characters giving their views on events provides much in the way of intrigue and humour. We go from zingers, bitching at the schoolyard, secrets hidden behind the closed doors of seeming bliss and female bonds are just some of the areas Big Little Lies goes into with its blend of wit, mystery and entertainment. From a stylistic point of view, this show is intoxicating. With the talented Jean-Marc Vallée on direction duties, it’s not surprising that Big Little Lies is such a hit. The vistas of the sea and the fabulous houses that the characters reside in provide much in the way of eye candy. And the editing and direction of the whole thing is very on point. Often, scenes blur into each other and the past bleeds with the present in unique ways that you get more accustomed to as the story gathers momentum. Montage and scenes cut to specific music abound and entice in how they connect the women and display just what’s really going on inside this bubble of supposed domestic paradise.

One of the biggest draws of Big Little Lies is how the mystery stems from the fact that we aren’t told who the murder victim is. Instead, the series flashes back to what lead to the act, excellently drip feeding us with occasional information about it. Most shows would have established who it is that was deceased, but Big Little Lies has other things on its mind to blow the big enigma straight away. Never mind whodunnit, it’s more like a who did it to who in the best possible way. And one shouldn’t forget that Big Little Lies goes to some disturbing places that put jolts into the action and are frequently shocking. Blending both humour and uncomfortable issues, it’s a show that in a sure-footed manner straddles each aspect with an eye for unearthing what sinister and pressure filled things are lurking beneath society’s obsession with paradise. And the succession of strong and rounded female characters is yet another praise worthy part of Big Little Lies. Whether lying, helping each other or trying to deal with life struggles, the vision of women is one that is excellently executed. And the last scenes of female solidarity are some of the best in the show and proudly showcase the excellence at hand here.

Reese Witherspoon heads the cast with energy as the local watcher of all things around her and someone you don’t  want to cross. Madeline as a character has a lot of layers and is not just the overprotective and domineering woman of the one-dimensional variety. Witherspoon and her natural perkiness are on show mixed with something more bitchy and flamboyant, yet tempered by hidden fears and insecurity. Nicole Kidman is riveting as the quiet and seemingly calm Celeste, whose life is so much more complicated than it seems to others. With Nicole Kidman essaying mystery and a very complex set of turmoil through nuances, you can’t help but be in awe of her talent. Her eyes are always searching for an answer to her future and are subtly but movingly expressive. Kidman’s ability to register so many emotions in a restrained manner is simply marvellous to watch as she covers such a wide array of feelings within the character of Celeste. Shailene Woodley portrays the youngest mother in Jane, who is something of an outsider in the community. She’s our vantage point into this world of mothers, children and image and one that is terrified yet determined to build a new life for herself and her son. Woodley suggests inner suffering and a deep love for her son in many excellent ways that are explored by her skill and ease in the part. Stealing a lot of scenes with intense and fierce action is Laura Dern. She stars as the pushy, overprotective and snotty mother who lauds her businesswoman acumen over everyone yet can’t cope when things don’t go her way. She manages to be both aggressive and funny within minutes of each other. Zoë Kravitz has the right free spirit and bohemian charm for the role of Bonnie; who is married to Madeline’s former husband and not exactly popular with Madeline who sees her as being too perfect.

The rest of the characters are fleshed out by an array of fine actors. Alexander Skarsgård exudes menace as a weak man whose insecurities are exposed when he beats his wife and feels like he has some power. A loathsome character, Skarsgård plays his to a tee. Adam Scott showcases his nice, average guy persona but colours it with areas of resentment that make him interesting to watch. James Tupper is childish and up for an argument playing Madeline’s former husband who can’t resist confrontation with Adam Scott’s character. And then there is the relaxed and chilled out Jeffrey Nordling, who compliments Dern’s manic behaviour with his no cares attitude. The men are great in Big Little Lies, but the show belongs to the women of the cast who turn in exemplary work.

A highly addictive series that is funny, dramatic and mystery, Big Little Lies is hard to resist, especially with a cast like this and direction this good. And if you haven’t seen it yet, here’s the opening titles to entice you.

Victoria Season 1

Tags

2010's, Adrian Schiller, Alex Jennings, Catherine Flemming, Daniela Holtz, David Oakes, Eve Myles, Ferdinand Kingsley, Jenna Coleman, Margaret Clunie, Nell Hudson, Nigel Lindsay, Paul Rhys, Peter Bowles, Rufus Sewell, Tom Hughes, Tommy Knight, Victoria, Victoria Season 1

The fabulous Maddy is doing a blogathon about the gems of the small screen and I just knew I had to take part. As I’m a sucker for historical dramas, I just knew I had to cover the first series of the elegant Victoria.

A lavish historical drama, depicting the ascension to the throne of Queen Victoria and the turbulence of her early reign, the first season of Victoria is a marvellous one that draws you in with its writing and acting.

England, 1837 and upon the death of William IV, his niece Victoria( Jenna Coleman) becomes Queen at the age of 18. She’s lead an extreme sheltered life up until this point, having grown up in Kensington Palace. Her time there has been almost that of a prisoner as her mother’s adviser Sir John Conroy(Paul Rhys) has attempted to dominate the young girl. He is an opportunistic man who has wrapped the Duchess( Catherine Flemming) around his little finger. With little in the way of guidance, Victoria is thrust into her role of Queen. While there are those who covet her position and think of her as a naive girl, with assistance and growing sense of strength, she succeeds at fulfilling her duties as monarch. There are difficulties along the way as she navigates power struggles, backbiting and doubts from courtiers and government. From this point on, she grows as a woman and ruler, destined to be remembered and revered. Still the path in front of her is a far from simple one as she takes residence in Buckingham Palace. There’s her dedication to Prime Minister Lord Melbourne(Rufus Sewell) that calls into question whether there is something improper going on. While there is some love that Victoria at one point thinks age feels( mainly one that resembles father and daughter approval), it’s a very platonic relationship between them. Her stubbornness to rearrange her ladies in waiting to make it seem she isn’t favouring one government over the other causes a scandal as well as other ways that she acts impulsively. Still trying to get a foothold into power is John Conroy, who employs dirty tactics to enable what he wants. Thankfully, Victoria manages to assert herself and banish him from her life as age gets more comfortable in her destiny. One of the biggest things is Victoria’s meeting and eventual marriage to Prince Albert(Tom Hughes). She chafes at first at the idea of wedding him as it is from the idea of her slippery uncle King Leopold of Belgium(Alex Jennings), but comes around and realises he is the man she loves. And downstairs contains just as much drama as upstairs in a highly entertaining historical series that will have you hooked.

Like most historical dramas, Victoria is a stunning feast for the eyes. The buildings and set design dazzle with colour and life, capturing the richness of palaces and country homes. Special mention must go to the costume department, who dress everyone in such finely designed clothes that you can’t take your eyes off. This is especially the case in what we see Victoria dressed in, which is nothing short of gorgeous. Just like in The Young Victoria, we are presented with a different perspective of the iconic Victoria. Here she is still very much a young woman who is alternately learning on the job and asserting her authority in the face of opposition. The writing, which covers the early years of her reign that aren’t quite as documented as the later ones, highlights the steps Victoria had to take to be seen as a strong and regal monarch. She was no ones puppet and slowly found her toughness to steel herself in a time that would bear her name. Many will say that Victoria is soapy and to an extent it is very eventful and dramatic, but that’s what makes it so compelling. There’s always something going on to keep the attention, both upstairs and downstairs. From humour and insight into palace life to the romance between Victoria and Albert, there’s no shortage of talking points here. In many aspects, Victoria resembles a mixture of Downton Abbey and Upstairs, Downstairs and is just as entertaining. It takes what made those shows great and runs with it, creating a series of fine drama and history. Not all of it may be historically accurate, but mind you what movies or television based on real events stick extremely loyally to what happened? A gloriously grand musical score backs up the pomp and ceremony of being a Queen and the romantic dramas experienced by the whole host of characters.

Jenna Coleman is an inspired choice to play the young monarch, taking her first steps as queen and learning quickly the responsibility of it. She has a playfulness and alternating will that showcases the often portrayed Victoria as full of life and passion, steel and vulnerability. Strength, girlishness and intelligence all come across in her work, twinned with sympathy for her as she adjusts to the sudden shift in her life. It’s safe to say Coleman makes for an ideal Victoria by making the role her own. There are plenty more stars in the big ensemble cast. Tom Hughes makes for a handsome and excellent Prince Albert. Our main knowledge of Albert is that his death completely devastated Victoria, so it’s nice to see a portrayal of the young man as one of many things. He’s smart yet awkward, reserved but very passionate and immensely forward-thinking. It is very good to witness more of an insight into Albert rather than just him as simply the Queen’s husband. He and Jenna Coleman share a very nice and gradually romantic chemistry that highlights the deep love that grows between Victoria and Albert. On hand for great charisma and understanding is Rufus Sewell as the skilled and supportive Lord Melbourne. Sewell plays him as a man who has been around for a long time and knows the score when it comes to the relationship between Crown and Parliament. His immense likability ensures we buy into the way he interacts with Victoria and steers her on her way to greatness.

A highly entertaining performance comes courtesy of Alex Jennings, who portrays Victoria’s uncle King Leopold of Belgium. He may be someone whose always finding ways to lurk about and influence matters to his own benefit, but damn if he doesn’t look like he’s having fun doing it. Catherine Flemming is easily influenced and distant from her daughter, hoping that it will be changed sometime in the future. David Oakes is on dashing ground as Albert’s womanizing brother Ernest, who enters into a flirtation with Harriett, Duchess of Sutherland (as played by the luscious Margaret Clunie )and close friend to the Queen. This beginning sows the seeds of more to come from these two. In roles of government, there is a disapproving Duke of Wellington and at the opposite end a slowly more respecting future Prime Minister Robert Peel. Both are played in style by Peter Bowles and Nigel Lindsay. In his short tenure in the show, Paul Rhys is appropriately slimy and scheming as John Conroy. So it is very satisfying when Victoria finally cuts him down to size and makes it possible for herself to be heard as a woman of power and influence. A lot of that is down to how well Paul Rhys plays the role that we dislike Conroy so intensely.

And the downstairs is well represented too. Daniela Holtz is endlessly severe but mainly well meaning playing the loyal Baroness. She’s often picky and constantly on the lookout for something to smooth over, but it’s often out of a desire to do well by Victoria. is a character who is both caring and staid, a balance that is well observed by Holtz. Nell Hudson is the pretty new dresser to the Queen named Skerrett, one hiding a secret and attempting to keep it fully under wraps. Eve Myles is effectively dowdy and reliable as the main ladies maid of the household who isn’t above a bit of grousing about conditions. With a flair and sense of amusement, Ferdinand Kingsley is the palace chef with an eye for Skerrett. One of my favourites characters is Penge, the Steward who is lazy and overly cynical. Portrayed by the watchable and fun Adrian Schiller displays of eye-rolling indignant and sarcastic comments add humour to the mix of things going on in Victoria. Tommy Knight plays his underling, who always has a smile on his face and impish charm to spare.

Sumptuous costume drama that effortlessly fills the Downton Abbey void in your life, Season 1 of Victoria delivers great historical drama goods with style that has me yearning for the second series.

Viceroy’s House

Tags

2010's, Gillian Anderson, Gurinder Chadha, Historical Drama, Hugh Bonneville, Huma Qureshi, Manish Dayal, Michael Gambon, Om Puri, Simon Callow, Viceroy's House

Film Title

Viceroy’s House

Director

Gurinder Chadha

Starring

• Hugh Bonneville as Lord Louis Mountbatten
• Gillian Anderson as Lady Edwina Mountbatten
• Manish Dayal as Jeet
• Huma Qureshi as Aali
• Michael Gambon as Hastings Ismay
• Simon Callow as Cyril Radcliffe
• Om Puri as Ali

A bittersweet movie that takes on the final months of British rule in India and the following Partition, Viceroy’s House greatly finds complexity and emotion in what is undoubtedly a difficult part of history to present.

The year is 1947 and Lord Louis Mountbatten has been made Viceroy of India. He, along with his wife Edwina and daughter Pamela, make their way to the Viceroy’s House in Delhi where they will live. Mountbatten is to be the last Viceroy and is charged with overseeing the handing back of India from British rule. This is going to be far from a straightforward task as political issues and opposing stances on what should happen to India. The chief thing to  consider is whether India should be independent and still one nation or the move for Partition and the creation of Pakistan. Meanwhile, downstairs a star-crossed love story is developing between newly arrived valet Jeet and the pretty Aalia. Their union is complex due to the fact that he is Hindu and she is Muslim, though Jeet wants to overcome the odds and be with her. Aalia doesn’t want to disappoint her blind father who has already got a husband in mind for her, but she finds it difficult given her feelings. Back upstairs, and although he has to remain neutral over his opinion in what will happen, with oppositions appearing in what he sees, Mountbatten edges towards the idea of Partition. Yet with violence breaking out across India from different factions things come to a head as the prospect of Partition looms large.

At the helm of this movie is director Gurinder Chadha, who manages to tackle a very touchy subject and not make everything look all rosy. Viceroy’s House is obviously personal to Gurinder Chadha, as we find out in the credits that she had relatives who survived the events following Partition. Her greatest skill is how she presents how difficult and conflicted the process of change was; it was far from easy for anyone involved in it. There’s a refreshing bluntness to her movie that takes the time of the British Raj and views it through a more critical angle than most historical dramas. There’s no real romanticising of the time, instead it discovers more darkness and machinations than that. Yes it can seem like a more exotic version of Downton Abbey in the early stages( which to be honest isn’t a bad thing at all) but Viceroy’s House has much bigger fish to fry in its running time. The movie is careful not to demonize either the side that wanted to leave and form Pakistan and those who wanted Indpendent India. That’s what makes it interesting, there is no easy or straightforward answer to it all. The love story and various parts may have benefited from some expansion as the story it takes on is big and important on a lot of levels. The romance angle drags the film down somewhat, but there’s still some small virtues to be had despite the melodramatic treatment of this chapter. But by and large, Viceroy’s House succeeds in what it sets out to do. I’ve read some quibble that the film doesn’t quite play to the facts and simplifies events( I am no expert on the topic, so can’t really judge how soundly truthful the movie is), but even so it is very gripping viewing. On a visual level, this is a movie where the words sumptuous and gorgeous come out.

Hugh Bonneville is on familiar but fine ground as Lord Mountbatten. He has a way with projecting an air of dignity and class, tempered with uncertainty about the future. Mountbatten, in this incarnation is painted as a man attempting to make things as peaceful as possible but struggling with the inevitable fall out. Supporting him is a great Gillian Anderson as his open-minded wife, the strong woman behind the man. She exudes a witty yet caring demeanor that is a breath of fresh air in a time of unrest and Anderson rises to playing the part beautifully. Despite their story being the thing that sags in Viceroy’s House, Manish Dayal and Huma Qureshi still have a nice rapport with one another. Reliable British thespians Michael Gambon and Simon Callow are on hand for great supporting roles. Om Puri, in one of his last film appearances, projects a quiet sense of worth and heart despite having suffered in his life.

A movie that is deeply felt, despite a few shortcomings, Viceroy’s House dramatises it’s events in manner that thankfully doesn’t sweeten or brighten anything for the audience. Rather, it strives and largely succeeds at discovering depth in a time in history that has been somewhat ignored on screen and presented with both effectiveness and bluntness.