The Beguiled (2017 Film)

Tags

2010's, Angourie Rice, Colin Farrell, Elle Fanning, Kirsten Dunst, Nicole Kidman, Oona Laurence, Psychological Drama, Sofia Coppola, The Beguiled

Film Title

The Beguiled

Director

Sofia Coppola

Starring

• Colin Farrell as Corporal John McBurney
• Nicole Kidman as Miss Martha Farnsworth
• Kirsten Dunst as Edwina Morrow
• Elle Fanning as Alicia
• Oona Laurence as Amy
• Angourie Rice as Jane

Previously filmed in 1971, The Beguiled gets a reworking courtesy of Sofia Coppola and its different approach makes it one memorable movie of mounting tension and burgeoning sensuality.

It is 1864, Virginia and the Civil War is in motion. A young girl by the name of Amy from a nearby school for young girls, is out gathering mushrooms for food. She comes across Corporal John McBurney, a badly wounded Union Soldier and deserter. Helping him, Amy brings the unconscious man to her school. Here we meet the stalwart headmistress Miss Martha Farnsworth, vulnerable and melancholy teacher Edwina Morrow, and a few students, including teasing and bored teenager Alicia. There is curiosity among the girls about the man; many thinking it treason to harbor the enemy, but also a pang of sexuality as there hasn’t been a man around the isolated place for a long time. All of the ladies at the school in one way or another find themselves attracted to and curious about the handsome man in their residence. For the protective Martha, he is something that is tempting but troubling to her position of power. To shy Edwina, he is a decent man who seems to treat her with compassion. And to the precocious Alicia, he is something to project her kittenish desires on to. With the other younger girls, particularly Amy, John is something of a mysterious but friendly stranger. McBurney, while convalescing, does nothing to stop fanning the flames he has stoked and proceeds to flirt with the women. Largely, he manages to ingratiate himself into the hearts of the surrounding women, hoping to remain at the school and not return to the battlefield. Yet his trifling with their emotions in such a confined setting, will not be tolerated once fevered feelings finally get aired. The women themselves, particularly Martha, Edwina and Alicia, find themselves vying for his attentions and wrestling with romantic and lustful feelings. Soon events become complex for all the ladies, as the attraction and jealousies give way to irrevocable circumstances that tear the school to pieces in the wake of deception and anguish.

Sofia Coppola is at the helm of this steamy tale of repression and revenge, and goes about it with a finely tuned subtlety that is its chief asset. In comparison with the Don Siegel version that was more lurid and in your face(effectively so too), Coppola’s interpretation is more on the side of suggestion and nuance. Stifled desires and flurries of jealousy are glimpsed in actions and facial expressions, finding an unspoken way to project the inevitable chaos that will ring out soon enough. The tale, under the direction of Sofia Coppola, takes shape from a woman’s point of view, featuring the female gaze as opposed to the male one that so many films favour. John is repeatedly observed and lusted after in a variety of ways, most memorably when Martha sponge baths him and has to stop as her stifled desire is beginning to surface above her ladylike visage. A surprisingly sly wit also courses through the movie’s veins, which is unexpected but most welcome in the end. Themes of isolation and female identity have been explored through Coppola’s filmography already, but The Beguiled finds it in a darker setting. The choice by Coppola to have The Beguiled focus on the women primarily is a beneficial one, that allows expansion of character but also levels of surprising ambiguity. Plus, we aren’t told what to think about these people, rather it lets us make our minds up over their actions and consequences as they slowly become unsheathed. Who is really being beguiled in the film? Both John and the group of ladies exhibit signs of it, but the grey areas are what makes it so much more compelling to watch. Sofia Coppola has focused on isolation and female loneliness in her filmography successfully, here in The Beguiled, it lends itself excellently to this darker story that displays her command over suspense. While The Beguiled is definitely a psychological drama, a thriller element as the temperature rises, emerges under Coppola’s command. She shows she’s got a dab hand at creating tension; starting in the most subtle of ways before layering it with more prominent menace as John’s stay pulls apart the fabric of the female dominated house but comes around to find him in the process. Some of it can feel a tiny bit too gentle for such a tense story, but this is a minor quibble because the overall subtlety and open to interpretation approach lends The Beguiled an immensely watchable and tightly compact air. The evocative cinematography, based on shadowy bronze and occasional smattering of natural light, heightens the intensely claustrophobic cage that is the school, both for the women and John. A lot of it takes place within the aura of candlelight and closed curtains, further reinforcing the Southern Gothic entrapment of John and the tightly wound wheels of passion that are just fit to burst. There is an element of a very dark fairy tale present in the visuals, with the shafts of light through trees both coming off as beautiful and strange. And look out for the final shot of this movie, trust me it’s one that really speaks volumes and is strikingly executed. A sparse but effective score gathers momentum as darkness creeps into the tale.

Colin Farrell has the dashing good looks but also the talent to play the catalyst of The Beguiled. He is definitely someone who is manipulative and insincere in his promises, but an added depth comes out. Farrell brings with him a vulnerability that ultimately brings about his conniving behaviour, effectively he is brought down by his own plans. While Farrell is impressive in his part, the main focus of The Beguiled is the women. And they deliver brilliant work along the way. Nicole Kidman is both steely and motherly as the headmistress, who is not immune to feelings of passion that are stirred by John’s arrival. Through her watchful yet conflicted eyes, Kidman splendidly discovers a tough will and domineering hold over all who she sees; she is both protector and something of a jailer at the same time. For me, Kirsten Dunst, who has long been one of my favourite actresses, is the standout when starring as the wounded and easily lead Edwina. Her face presents a palpable sadness and a sincere hope of something that will take her away from the life she leads, a hope she thinks John will assist in. But Dunst also manages to inhabit something unpredictable in Edwina once betrayed, that rises with the jealousy of the characters around her. It’s an understated but very memorable performance. Elle Fanning, all pouting lips and come hither glances, nicely plays the teasing seductive student whose interest in John is far from wholesome. Young Oona Laurence makes a mark with a wide-eyed portrayal of children’s innocence, while Angourie Rice also stands out as one of the students growing attracted to the man in the school.

A decidedly Gothic and arresting drama of psychological desire and it’s consequences, The Beguiled finds Sofia Coppola stepping our of her comfort zone a little and fashioning something very haunting. Strikingly composed and executed, plus boasting some fine acting from a largely female cast, The Beguiled is very worthy of the praise it has been receiving.

Scream 4

Tags

2010's, Alison Brie, Courteney Cox, David Arquette, Emma Roberts, Erik Knudsen, Hayden Panettiere, Horror, Marley Shelton, Mary McDonnell, Neve Campbell, Nico Tortorella, Rory Culkin, Scream 4, Wes Craven

Film Title

Scream 4

Director

Wes Craven

Starring

• Neve Campbell as Sidney Prescott
• Courteney Cox as Gale Weathers-Riley
• David Arquette as Dewey Riley
• Emma Roberts as Jill Roberts
• Hayden Panettiere as Kirby Reed
• Rory Culkin as Charlie Walker
• Erik Knudsen as Robbie Mercer
• Marley Shelton as Deputy Judy Hicks
• Alison Brie as Rebecca
• Nico Tortorella as Trevor
• Mary McDonnell as Kate Roberts

A return to the slasher series with a satirical edge, Scream 4 undoubtedly has its flaws. But it would be impossible to reach the heights of the influential first movie and if you look at it from a singular standpoint, Scream 4 is still rollicking and entertaining, albeit with problems. Plus, you’ve got Wes Craven on directing duties, Kevin Williamson back in the writing department and three of the principal actors from the original trilogy. And in those areas, Scream 4 rocks.

It has been ten years since the first spate of slayings in Woodsboro and Sidney Prescott returns. In the time since, she has written a self-help book and become a very confident woman whose no longer scared of her past. She stays with her Aunt Kate and cousin Jill, who is in her teens and surrounded by friends who adore the movies. Her return is part of her book tour and she reconnects with friends Dewey Riley, who is now the Sheriff and Gale, who is married to Dewey and whose career as a writer has somewhat stalled since moving back to Woodsboro a number of years ago. Dewey is having a good enough tenure as Sheriff of his hometown, while Gale has writer’s block and craves a new challenge. Yet as Sidney arrives, her old nemesis of Ghostface makes his presence felt with a rash of grisly murders, akin to the crimes perpetrated all those years ago. With a new generation of wise ass teens on the block, we learn that the killer may be trying to outdo the original in the way that most reboots do. That means it’s up to Sidney, an inquisitive Gale and Dewey to unearth the psycho before more blood is shed from the people Sidney holds dear to her heart. But just who is starting all these killings over again and what is the overall motive?

Wes Craven, that great iconic director of horror, is firmly in the director’s seat and his obvious expertise in the genre are at play. Though some of it feels stale, Craven has enough energy and style to make Scream 4 at least a worthy entry to the canon. In a sad footnote, Scream 4 was Craven’s last directing gig before his death and he left us with a good movie to go out on. While it has some problems, I will say that it has a bit more a better ratio with laughs and scares than Scream 3 did. meta and self referential areas are still pretty much intact, though they can lack some of the panache the other movies had.  Regardless, the many satiric jibes about endless glut of horror movies that attempt to outdo their predecessors by being outrageous and bigger are well-handled. The in jokes here are pretty amusing it must be said, as a new set of reboot rules come out to play. Because so much has changed in the world of movies and technology, Scream 4 can seem a bit forced as it is a totally different age from when the first three where hot. Saying that, quite a lot of the humour regarding us being such a dependent species on the Internet and the lives of others is particularly tart and barbed; something writer Kevin Williamson knows a lot about. Yet for all the mocking of conventions, it slips into many of them a lot more than necessary. Overall though, the script and return of Williamson are inspired and still very witty when it comes to be self-aware. Just that opening film within a film part is wildly entertaining as a send up to relentless sequels in the gore-filled genre. Seriously too, I loved the homages to the other films in the franchise; a lot of them really stuck in my mind and surprised me. Probably the most glaring flaw is the lack of interesting supporting characters, save for movie savvy Kirby, girl next door Jill and geeky Charlie . The rest of the teenagers are mere cardboard cut outs whose main purpose is to die extravagantly( though that does make the film more brutal and pretty scary it must be stated). The other main flaw within Scream 4 is that it overlong and could have been cut better, instead of dragging quite a big chunk of it out. I believe it’s a flawed movie, but it has some excellent moments that bring us back into the feel of the first troika of works. Marco Beltrami also returns on music duties and kicks up the action and winking to the audience that these movies are a dab hand at. The music has always been a big part of why I love these movies and this doesn’t disappoint, along with some side-swiping writing and inventive deaths.

The returning cast members slip back into the roles they know so well and do it with style. Neve Campbell once more impresses as perennial survivor Sidney, who is now older and more confident than ever before. Campbell portrays Sidney at her most hard-edged and ready for battle, even having a bit of sarcasm and as she’s faced this horror before yet refused to be the victim. That quality of overcoming adversity and personal growth has always been the most effective thing about Sidney Prescott, best embodied by the naturalness and heart of Campbell. She is still obviously terrified by events repeating themselves, but by now can take charge and kick ass with both attitude and soul. All bow down to Sidney Prescott and Neve Campbell for bringing this resilient character back to life. Courteney Cox gets to show that Gale can still be a fabulous bitch who wants her part of the glory solving the crimes, in typically defiant and amusing and near dangerous fashion. David Arquette’s puppy like enthusiasm is still there in funny ways, though it is tempered with a weariness now that the character is older. It was nice seeing these three characters return once more and still be interesting to watch. Emma Roberts is good as the cousin of Sidney, while Hayden Panettiere steals the show as the wise ass, movie buff Kirby. Exhibiting a sassy attitude and flirty sex appeal, she was a lot of fun to watch. Rory Culkin and Erik Knudsen are pretty OK as the movie geeks of the piece, though Culkin overshadows Knudsen because he appears more than him. The gorgeous Marley Shelton is unfortunately saddled with an uninteresting part of adoring police deputy who has a thing for her boss and Alison Brie majorly grates as the bitchy publicist with a big mouth and condescending persona. Nico Tortorella is pretty bland and not at all convincing as a creepy ex-boyfriend of Jill’s, while Mary McDonnell is completely wasted in her role as Sidney’s Aunt.

As flawed as it gets and lazy in some aspects it becomes, Scream 4 is largely an entertaining return to the series, aided by some inventive deaths and characters we know and love. Imperfect it may be, but any Scream is better than no Scream, even with some blemishes to its name.

Last Night

Tags

2010's, Drama, Eva Mendes, Guillaume Canet, Keira Knightley, Last Night, Massy Tadjedin, Sam Worthington

Film Title

Last Night

Director

Massy Tadjedin

Starring

• Keira Knightley as Joanna
• Sam Worthington as Michael
• Eva Mendes as Laura
• Guillaume Canet as Alex

A low-key film that tackles the prospect of infidelity and how it can arise, Last Night largely grabs the attention with how it explores this. It all feels more than a little superficial to various degrees, though the intimacy and fine cast earn kudos for how they perform and bring up the main themes of trust and temptation.

Joanna and Michael are a seemingly content New York couple. Michael is a real estate agent, while Joanna is a magazine writer who wishes to write a book one day. Their union looks blissful from the outside, but the solid foundation of it is about to be shaken. At a party, Joanna can’t help but notice Michael talking extensively to his co-worker Laura, who is drop dead gorgeous. She confronts him later that night about what she perceives to be him being attracted to someone else and a fight ensues, though by morning they have managed to patch things up. Michael heads off on his business trip, which the sultry Laura is part of. Joanna is left to her work and attempting to recognize her feelings. They get a lot more complicated as her former flame Alex reappears. Trying to be friendly, she converses with him, but soon her old buried longings start to show which troubles her. Meanwhile, Michael becomes increasingly attracted to Laura and is tempted to cheat. As temptation and unmasked feelings are laid bare, who will succumb to crossing the line and threatening the stability of marriage first?

The direction from Massy Tadjedin in her debut, is very astute at pulling about the thoughts we wrestle with and how just something chance can have a big impact on events. She knows the power of minute actions and personal tics that can speak volumes about what a person is feeling. If it gets predictable as it goes along, Massy Tadjedin at least gets your mind involved in the possibilities of temptation and betrayal experienced by the quartet of characters. There is a specific mirroring in shots that compliments the mounting frisson of sexual tension both Joanna and Michael encounter, cutting back and forth with perceptive skill it must be noted. So while I did find many parts of Last Night contrived and could sense where it would end up, the bubbling level of attention given to the nuanced story really held my attention. It’s more about what isn’t being said in Last Night; the emotions and desires are expressed largely through body language and non-verbal communication. Which isn’t to say that the script is lacking( it’s quite incisive and contains many lines that subtly hint rather than effusively project thoughts), but the approach of watching how these people react and confront their conscience makes the film stay at least at a level that will interest you. Sometimes just a look or tiny gesture can make a big impact in its own special way. Last Night quietly asks what constitutes cheating , is it something physical or emotional? There’s no easy answer and while the film ultimately opts for something a tad too obvious in the overall storytelling, that idea of questioning the basis of infidelity struck me significantly. While events are beautifully shot and luscious to look at, it can feel overwhelming in terms of how glossy everything is rendered. Some neat editing captures the underlying restlessness of all involved, adding an air of intimacy to things. Clint Mansell contributes the piano heavy score, that is superbly piercing in how it brings out what the characters can’t say with a hefty deal of soulfulness and tension.

Heading events with the standout performance is Keira Knightley. Offering up a mature and emotionally transparent aura, Knightley succeeds at unfurling Joanna’s complex emotions with just the tiniest of gestures. As composed as the character thinks she is, we know that under the surface she is struggling to put her longings in order. All of this and more is presented by Keira Knightley, who is superb casting. Sam Worthington is probably the weakest performer in the film, though he has some moments of note. I think I just find him a bit evasive and blank in his role, despite patches of brilliance along the way. Eva Mendes manages to show hints and suggestions of how good an actress she is, rather than just the gorgeous woman that is routinely cast in middling fare. She exudes a forthright manner and guarded loneliness, while still being alluring as the possible other woman. People should take note that Mendes can be very effective when given a good part. While some of the writing concerned with her character is a little sketchy, she still gets across moments of feeling that display her obvious abilities that for too long people have overlooked. Guillaume Canet nails the slightly smug and charming demeanor of Alex, while discovering a feeling of pining that hasn’t been resolved for Joanna.

I must admit to wanting just a little bit more meat on Last Night’s bones, but for what it was, I was still intrigued by what it presented and the main acting. Keen direction also benefited the film, and while it may have left me a bit unfulfilled, Last Night also got my attention largely through its observational prism and the favoring of nuanced moments.

A Separation

Tags

2010's, A Separation, Asghar Farhadi, Drama, Foreign Language Film, Leila Hatami, Peyman Maadi, Sareh Bayat, Sarina Farhadi, Shahab Hosseini

Film Title

A Separation

Director

Asghar Farhadi

Starring

• Peyman Maadi as Nader
• Leila Hatami as Simin
• Sareh Bayat as Razieh
• Sarina Farhadi as Termeh
• Shahab Hosseini as Hodjat

An arresting and affecting film that deservedly claimed the Best Foreign Language Film Oscar, A Separation is a very intimate and realistically powerful movie from Iran, that is very relatable and surprising in the best possible way. Having heard so much praise for the film upon release, I can know say having watched it that is worth every ounce of acclaim it was accorded.

In Tehran, Simin files for divorce from her husband Nader, as they both want different things. Simin wants a divorce and to leave Iran with the couple’s 11-year-old daughter Termeh for better opportunities, while Nader wishes to stay out of obligation to his elderly father, who is declining in health due to Alzheimer’s. Simin is refused divorce as neither parent can agree, so she moves out for a while. Young and very smart Termeh stays with her father, who is struggling to look after his father and the condition he is in. Termeh hopes that by staying with her father, it will ensure that her mother will come back. With his wife not there, Nader needs someone to look after the house and also his father. Being a bank worker who can’t always be at the house, Nader hires Razieh, a poor woman to take care of his father while he is out of the house. She is actually pregnant and needs to money as her husband was thrown out of a job, but her pregnancy isn’t that noticeable to many. And as Razieh is a timid and very devout woman along with being four months pregnant, it stops her from fulfilling her job of caregiver to the best of her abilities. When Nader returns home one day and discovers his father having collapsed with Razieh nowhere to be found, he gets angry. When Razieh returns, he berates her for leaving his father and shoves her out of his apartment. Events take a dark turn when Razieh suffers a miscarriage and claims that when shoved her, she fell and this lead to her tragedy. Her hot-tempered husband Hodjat argues with Nader and everyone is dragged into this battle of truth and acceptability, even drawing Simin back to help her estranged. Tensions begin to hit boiling point as more accusations are thrown about and the accountability of everyone is called into question, complete with threats. At the centre, Nader and Simin are forced to confront their relationship and the impact it has had on everything that followed.

Asghar Farhadi is the masterful man behind the camera(as well as the script) and his intelligent, thoughtful and tightly woven narrative is absolutely compelling from the opening shot. He constructs A Separation to be a complex film that covers many intriguing themes like gender, resentment and culpability, and he allows us to witness it play out with revealing and moving clarity. Farhadi’s penetrating and perceptive script moves the story along at a riveting pace that allows for the gradual tension among the players in the story, whose lives are irrevocably altered by the choices they make and their feelings. Although an Iranian film that sheds light on life there in various areas, like the labyrinthine legal system and attitudes to religion, A Separation really soars thanks to the universal themes and emotions. The family strife and issues faced by the characters are all ones that most people will have experienced, and as they are presented in such organic fashion, it becomes like watching the lives of real people unfurl. Seriously, there were parts when I felt like a fly on the wall of these characters as the script was so natural and true to life, which really earned my admiration. There is definitely drama in the story that A Separation conjures, but the representation emerges as something human and morally complex( particularly in the examination of how our choices can have unforeseen consequences), eschewing any melodrama or unconvincing histrionics for an intimate approach. Hugely benefiting this style is the fact that all the characters are well-developed and each flawed; in this scenario, there is no easy hero or villain, everyone embodies a lot of different things that have large impacts. The film is devoid of music, which puts you right in the middle of all these escalating events without the need for musical manipulation. Instead, your eyes are glued by the significant building of tension that really is done exquisitely. Honestly, if this film wasn’t a drama, it would have made a great thriller due to the unraveling of events and the feeling of not knowing what will happen to stoke the fires of a combustible situation. Many films could learn a lot from A Separation in how to create something naturalistic and authentic.

The talented cast is on searing and immense form playing the complex and layered characters we encounter and watch as their lives are changed. Peyman Maadi turns in a layered performance of stubbornness and restlessness as a man who is trying to cope but crumbling on top of everything, even before being drawn into the legal proceedings that implicate him. Leila Hatami is immensely soulful and human as his estranged wife; she is blessed with a face that speaks volumes about the character with just a single glance or expression. There is a stalwart fire that burns inside her as the story progresses and she is forced to become involved. Sareh Bayat is quietly moving as the caregiver whose accusations provide the main catalyst of the story as her feelings are kept so under wraps you aren’t quite sure what to make of her, though you can definitely experience sympathy for her. Her role is probably the most difficult and the one that you constantly find yourself switching between trusting and being wary of. Sarina Farhadi( the daughter of the director) is a marvel for someone of such young years, playing the daughter caught in the middle of everything, mainly the separation of the title between her parents. She projects such emotion and honesty into her role and you really can’t help but empathize with the impossibility of her situation as she loves both her parents. Shahab Hosseini rounds out the cast as the irate husband whose threats escalate in the growing resentment and building hatred between families. I can scarcely think of anything negative to say about the acting because everyone is so realistic and convincing.

A deep and thought-provoking movie that questions a lot yet never goes for any easy cop outs, A Separation is a film of the highest quality that really makes an imprint on the audience. Trust me, if you haven’t watched A Separation yet, you simply must as it is worth your time.

Big Eyes

Tags

2010's, Amy Adams, Based on a true story, Big Eyes, Biographical Drama, Christoph Waltz, Danny Huston, Jason Schwartzman, Krysten Ritter, Terence Stamp, Tim Burton

Film Title

Big Eyes

Director

Tim Burton

Starring

• Amy Adams as Margaret Keane
• Christoph Waltz as Walter Keane
• Danny Huston as Dick Nolan
• Terence Stamp as John Canaday
• Jason Schwartzman as Ruben
• Krysten Ritter as DeeAnn

A biographical drama about Margaret Keane, who for years was in the shadow of her husband Walter who claimed credit for her work, Big Eyes is evocatively translated to the screen and showcases Tim Burton’s direction with a maturity, and great performances from Amy Adams and Christoph Waltz. If it’s another side of Burton you want, starting with Big Eyes is a recommended one from me.

We start in the late 1950’s, where Margaret packs up her daughter Jane and leaves her first husband. She travels and attempts to make a life in North Beach, San Francisco. But being a divorced single mother isn’t easy for Margaret, though she gets a job at a furniture company. However, art is her biggest passion in the world and the things she paints are often of children with extremely large eyes, which she tries to sell outdoors though to no avail. It is here that charming Walter Keane enters the picture, posing as a painter himself( though we’ll soon learn otherwise). Walter, with his stories and larger than life personality, sweeps Margaret off her feet and after a brief courtship the two are married. With both being art minded, they attempt to make something of their lives doing what they love. After both craft paintings that are displayed in a nightclub, someone takes interest in one of Margaret’s big eye paintings. Rather than jinx a sale, Walter lies and says that he is the artist. Making money from this Walter is thrilled, though Margaret is dismayed at him being so covert. Ultimately, as Margaret is so vulnerable and fragile, Walter uses this to manipulate her into corroborating his scheme and keeping her silent as he passes off her work as his own. This traps Margaret in a big lie that she doesn’t know how to escape from(mainly because she has helped perpetuate it under duress), and for a while she goes along with it, continuing to paint what people don’t know is her work. But as the paintings get more noticed and Walter more greedy, she realises that she can no longer live this sham any more and with burning and emerging toughness, she takes action to reclaim her rightful ownership in a court battle.

Tim Burton is behind the camera in the director’s chair and he does something different here. Over his last few films, I felt that Burton was somehow becoming a bit rote and not at his usual best, due to growing use of CGI and a lack of attention to story. But with Big Eyes, Burton discovers his footing again by toning down his usual macabre sentiments in favour of a deeper and revealing style. Burton doesn’t completely jettison his usual kookiness, as can be attested to a few peculiar sequences where Margaret sees other people with eyes similar to her work, he just reins in his creepy visuals a bit more and crafts a very intimate and personal story that stands out. I definitely enjoyed this more traditional approach from Tim Burton and peppered with a little sprinkling of his unusual magic that don’t overpower the story, Big Eyes excels at being a change of pace in the most effective way.  You can see that Burton has a big respect for the artistic mind by the way he presents Margaret’s emotional attachments to her work, that sadly were relegated to the background by the conniving cons of her husband. As dark as the story is when you look at it closely, there is a wealth of humour thrown in that makes fun of opinions critics have on art and the overall value of it, specifically in regards to monetary worth, which it seems the slimy Walter was consumed with. When the battle of wills omen escape and it leads to court, fun can be head in sequences that prove the truth can indeed be stranger than fiction. Now I wouldn’t say Big Eyes is a perfect movie, it does have a few little flaws. During various moments, the story did find itself losing its way and getting a little repetitive. And a bit more oomph in the middle may have been beneficial, though it isn’t something that does harm to an intriguing piece. But I found myself invested watching this film for the story it provided and an insight into the mind of an artist, while covering themes of personal connection to ones work and female oppression. The flaws I mentioned which in honesty where little ones, thankfully don’t spoil the overall product which is a definite improvement on Burton’s recent output because it tries something you wouldn’t expect from him. The visuals are kept to being bright and ever so slightly mocking as the real turmoil of Margaret was largely hidden by the outward appearance of everything being serene. And Danny Elfman provides a brimming, urgent score, perfectly in touch with Margaret’s awakening.

Amy Adams gorgeously and subtly plays Margaret Keane as a shy and meek woman, who slowly burns with resentment at her circumstances, knowing that some of it falls to her. Right from the start, Adams makes you relate and sympathise with this woman whose good nature was taken advantage of until she eventually decided enough was enough and she wanted her story to be known. She starts out birdlike and fragile and then little by little through nuance, Adams invests the part with a burgeoning voice that won’t be silenced anymore or swept under the carpet. It is an exquisite and moving performance that doesn’t need big theatrics to be effective; instead the quiet and graceful approach from Amy Adams works beautifully in imbuing the part of this artist with a passion and inner strength that eventually percolates through. At the other end of the spectrum is Christoph Waltz. His portrayal of the ruthless Walter is one that features loud and bold brush strokes, which Waltz obviously has customary fun with. I’ve read other reviews that say that he goes way over the top in his work and that it is a detriment to Big Eyes. I wouldn’t go that far because I think the part needs an exuberance that Waltz can provide as evidenced by his other work in movies. The part of Walter is this big talking, savvy man with hardly any subtlety, much like the ringmaster of the circus. And I must say, Waltz has that energy and more, which I think balances well with the gentle work of Amy Adams. Danny Huston as the man narrating the film, is appropriately barbed and cynical, which seems ideal as he is portraying a gossip columnist. The great Terence Stamp infuses his small appearance as a scathing critic with a biting sensibility, while Jason Schwartzman makes for laughs as a snooty artist. It is only Krysten Ritter who doesn’t resonate, as she is given scant to do and can’t bring whatever life there was to the part of Margaret’s friend.

A down to Earth change of pace from Tim Burton, Big Eyes proves to be a memorable version of a true life story, that has a core of emotion and respect regarding art and two excellent performances from the leads.

The Vow

Tags

2010's, Channing Tatum, Jessica Lange, Michael Sucsy, Rachel McAdams, Romance, Sam Neill, Scott Speedman, The Vow

Film Title

The Vow

Director

Michael Sucsy

Starring

• Rachel McAdams as Paige
• Channing Tatum as Leo
• Jessica Lange as Rita Thornton
• Sam Neill as Bill Thornton
• Scott Speedman as Jeremy

The Vow says that it’s inspired by true events, but any hope for something to invest your time in is destroyed by a sappy and schmaltzy approach that hinders just about everything in the film and makes it forgettable. There was a story here, but it just got lost under all of this corniness.

Young married couple Leo and Paige are madly in love and in a very good place where it appears nothing can touch either of them. They are crazy about the other and both are doing well job wise; Leo has recently opened a record studio and Paige, an art student, is currently crafting a sculpture for an important part of her course. But everything takes a sharp turn when they are both injured in a car accident. Leo comes out with only a few bruises, but Paige suffers damage to her brain that she has to be put in a coma. When she does wake up, she can’t remember anything of her time with Leo. It is as if the last five years of her life have been erased and she still believes that she is living in the past. Leo is understandably devastated by this, but being so devoted to Paige he makes it his mission to woo her again. He hopes that this will help her regain her memories and despite the protests from her estranged parents who come back on the scene, he resolves to do whatever he can to get the woman he loves back. This going to be a lot more difficult than he imagined as Paige seems to gravitate more to how she used to be, which includes the reappearance of her ex boyfriend Jeremy. Yet can Leo really win Paige back with his attempts before it is too late for them anymore? Or is any attempt futile for Paige as she is torn between everything she had and what she could have, due to the gaps in her memory?

Michael Sucsy is I’m sure a good director, but his hand isn’t that assured with The Vow. Though having said that, I think most directors would struggle to make this have an ounce of credence. Although inspired by true events, which I’m sure where a lot more dramatic and heartfelt than what was depicted here, The Vow just simply ambles along the rote formula of romance that isn’t the slightest bit credible. If the film makers had kept the film grounded in some feeling of sincere emotion, then The Vow could have been passable. I get that this is a Hollywood version of the story and some of it is bound to be embellished, but I would have preferred a bit more soul to the whole enterprise. Seriously as I’m writing this review, I am struggling to find something memorable in the film, which is proving a losing task as there is nothing really that redeemable. It moves from one cliché to the next within minutes, with barely anything ringing true in my mind. Sure the premise is one that is definitely emotional, but I wasn’t really touched that much by The Vow, only in fleeting moments that I can count on one hand. And it’s so shamelessly manipulative with what it wants you to feel, but even then, it doesn’t induce the misty eyes it strives to elicit. The visuals are bright and glossy which is pleasing enough, but if more attention was given to the story than crass button-pushing, The Vow may have been at least bearable. I found myself wanting something more real and not as predictable as the end result, sticking to the basis of story and not just going for sudsy melodrama might have helped. And not even a sweet score and soundtrack went any way in making this film an easy pill to swallow.

The pairing of Rachel McAdams and Channing Tatum is a nice one, despite the fact the characters are like cardboard cutouts more than people. Both of them are too talented for this sort of film, but try to bring something else. Sadly, that doesn’t come out and even though the chemistry is fine, the writing of the characters undoes any of the attempts made by McAdams or Tatum to make this credible. The blame can’t be put at their door as they at least attempt to salvage the mess, yet the tide of mediocrity from The Vow as a whole is too much against both appealing stars. The same sadly goes for Jessica Lange and Sam Neill, who are both given roles that are one-note to say the least, (that note being nasty and manipulative as Paige’s parents.) Once again, both actors are commendable in their endeavors to save this boring film, but are relegated to underused and not at all given an inch to flex their known skills. I mean, if you are going to hire actors of renown at least give them something to do, that isn’t asking for much is it? Scott Speedman, who has been very good in other movies he’s been in, is also stranded with a role that has no scope, that being the asshole ex of Paige.

So I must say The Vow just wasn’t the film for me. I found myself really disconnecting from it as it walked down the trite road to slush fest.  The story had definite potential, but it never went anywhere for me.

The Help

Tags

2010's, Allison Janney, Bryce Dallas Howard, Drama, Emma Stone, Jessica Chastain, Octavia Spencer, Sissy Spacek, Tate Taylor, The Help, Viola Davis

Film Title

The Help

Director

Tate Taylor

Starring

• Emma Stone as Eugenia “Skeeter” Phelan
• Viola Davis as Aibileen Clark
• Octavia Spencer as Minny Jackson
• Bryce Dallas Howard as Hilly Holbrook
• Jessica Chastain as Celia Foote
• Allison Janney as Charlotte Phelan
• Sissy Spacek as Mrs. Walters

A big-hearted and stirring movie that tackles racism and the efforts of someone to expose it, The Help provides a poignant and affecting film, aided by a superb cast of talented actresses.

Aibileen Clark is a black maid for a family in 1963 Jackson, Mississippi, who has endured great hardships but has largely kept her emotions under wraps as being maid is the only thing she knows and the only form of work she has. She finds company in her friend and fellow maid Minny Jackson, who is sassy and outspoken in comparison to her, but an excellent cook which is why she finds her employment. A friend of the family Aibileen works for, the young and fresh out of university Eugenia “Skeeter” Phelan returns home to pursue a career in writing. Yet in the social circle that Skeeter finds herself in, headed by the utterly vile and extremely racist Hilly Holbrook, she is something of an odd person, mainly due to the fact that she is more interested in writing than finding a boy to marry. After witnessing the prejudice that the black maids suffer on a daily basis from the white families that employ them, Skeeter finds a story to be discovered and written about. She wishes to write something that shows the feelings and opinions of ‘the help’ and expose what they go through. Determined as ever, she first asks Aibileen her thoughts on being a maid, of which Aibileen is apprehensive as she doesn’t want to lose her job for speaking out of turn. Good-natured Skeeter eventually wins Aibileen around with her persuasive tactics as she genuinely cares about what happens and wishes to make some sort of difference to the shocking treatment of black people. But in the climate of racism and prejudice, they must be careful that no one catches on to their plans, especially Hilly. They also recruit Minny, who has a few stories to tell in typically impudent fashion. Their writing and conversations soon lay the ground work for the book, as they skilfully avoid being caught by meeting in secret and quietly getting the opinions of other maids, who were first skeptical about speaking out. As the writing continues, Skeeter’s resolve strengthens until she won’t stop and with growing confidence and support from both Aibileen and Minny, the book is put in successful motion.

Tate Taylor’s direction is well-appointed and rendered with just the right amount of poignancy, that allows the characters to shine brightly and come alive. He does get a bit sidetracked with trying to sometimes be too light, but his direction is handsomely done all the same. There a few times when The Help misses an opportunity to really present the themes it has with more honesty and they get a bit lost in the whole thing, but by and large, it does a pretty commendable job with at least bringing most of it to the attention of viewers. I would have liked a bit more seriousness at various parts in the film, but the largely touching and inspiring story at least made up for that mishap. The Help certainly makes for moving and poignant viewing, as we really feel get to know the characters of Aibileen and Minny and are horrified at the treatment they endure by others, simply because of their skin colour. It is pretty staggering that it wasn’t actually that long ago that things like this happened when you think about it, and even today there is still prejudice in places. Some will say that the film is too glossy to have dramatic impact when it does have significantly moving material that sheds a light on determination to overcome racism. If anything, the bright colours throughout The Help, enable it to be a bit ironic as everything on the surface is nice, but the ugly truth of matters is far from it. The music in The Help is quite a contemplative part of it, with a growing emotion and feeling slowly emerging from the quiet.

Emma Stone is extremely appealing as the heroine and thrust of the narrative. Her Skeeter is a girl of understanding and doggedness, who gradually with gumption takes risks in ensuring that the story is told and recognized as a portrait of the hardships the maids have to deal with. Her bright eyes and quick mouth are also put to good use, with Stone getting some feisty one-liners to dispense to the circle of women she knows and all follow Hilly like loyal sheep. If Stone represents the spirit of the piece, Viola Davis is the beating heart of The Help. Her dignity, integrity and emotions are all projected with such beauty, poise and humanity that you can’t help but be moved and sympathise with. Her face registers so many feelings that dialogue isn’t needed to understand the hardships she has endured and how she has stoically battled away with grace and hope. Davis is a soulful and powerful performer and her work here is nothing short of amazing from start to finish. On scene-stealing form is an Oscar-winning Octavia Spencer, who is delightfully sassy and direct to the point. Her Minny is a character to root for and Spencer’s wit and depth is given fine voice and freedom as Spencer completely owns a lot of the show with her work. Bryce Dallas Howard savours the role of queen bitch Hilly and plays it to the hilt, becoming one nasty piece of work that you just want her to get exactly what she deserves. She reminds one of a cross between a Stepford Wife and a queen bee from high school, all packaged into a horribly vindictive package and realised well by the talented Howard. Jessica Chastain showcases her immense versatility by playing the ditzy but very personable Celia; an ostracized lady who hires Minny and treats her like any normal person would, in a respectful and kind way that isn’t based on prejudice or fear. Chastain imbues the role with a real naive sweetness, along with a complimentary wealth of sadness that makes you want to hug her. Celia is bullied by the disgusting Hilly who sees her as trashy and immature, when in reality she is a lot more likable, open-minded and mature in outlook than anyone thinks. Good support is provided by Allison Janney as Skeeter’s bossy but ill mother and especially Sissy Spacek as the dotty but amusing mother of Hilly.

So while it could have dug deeper into the issues it presents, The Help still ends up being a pleasing and moving drama about taking a chance and growing with courage in letting your voice be heard.

Under the Shadow

Tags

2010's, Avin Manshadi, Babak Anvari, Bobby Naderi, Drama, Foreign Language Film, Horror, Narges Rashidi, Under the Shadow

Film Title

Under the Shadow

Director

Babak Anvari

Starring

• Narges Rashidi as Shideh
• Avin Manshadi as Dorsa
• Bobby Naderi as Iraj

Under the Shadow marks the directing debut of Iranian-born Babak Anvari. Drawing on a number of disparate themes and genre tropes, he crafts this eerie horror-drama set in post-revolution, war-torn Iran.

Shideh is a mother living in Tehran in the 80’s as conflict continues between Iraq and Iran. She has been trying to regain a place at university, but due to her past involvement in protests during the revolution, she is turned away from studying to become a doctor. Her husband Iraj, who himself is a trained doctor, attempts to support her, but Shideh is hurt by the rejection and lives in fear of the conflict that is engulfing her and her daughter Dorsa. Her refusal to adhere to many things in her culture also marks her as different, especially in the way people around her view her. Soon after being told that she can’t study, Iraj is called up to the military to serve as a doctor in a particularly under attack area. His absence leaves Shideh looking after young Dorsa all alone. Yet events take a significant turn, in between the runs to shelter and Dorsa developing a fever, a missile that doesn’t explode lands in one of the apartments, coinciding with the death of one of the tenants. After this strange incident that particularly shakes Shideh, peculiar events occur for her and Dorsa. The biggest one is people in her apartment building, who all slowly leave for safety, speak of a Djinn; a spirit brought forth by the wind, that can latch onto people, usually through the taking of a personal object. Shideh simply puts this down to just superstition, but after her daughter talks of seeing something that has stolen her precious doll, things start to get unnerving. With both the threat of death looming large due to the seemingly never-ending war and the possible presence of something unnatural, the worn out Shideh is pushed to the limit as she starts to feel more isolated by the day. As Dorsa becomes more feverish and testing, Shideh is left to decipher whether or not the Djinn is real and after her. Most cases seem to point to something amiss after the missile struck, but can she be sure? In a desperate fight and clinging to her sanity, she fights to protect her daughter and figure out just what is going on around her before whatever it is closes her in.

Under the Shadow may be his full length feature debut, but there are no first movie nerves shown from Babak Anvari, who also wrote the script. The backdrop of the Iran-Iraq War adds a lot of depth and another example of horror. For all the strange and possibly supernatural things happening, the horror of the everyday and the shock of war are just as realised and plausibly frightening. The most compelling part of Under the Shadow is the ambiguity it has going for it. One can look at the film from multiple angles and interpretations. These appear in both the story and what the film is ultimately about, in terms of genre and thematic value. In one way, the movie could be viewed as a woman’s fears of society shackling her for her free-thinking attitude. Or are these strange events that Shideh thinks are related to the malevolent Djinn, just her feelings of anxiety manifesting onto her young and impressionable daughter? Perhaps the missile that landed in the apartment building did bring something sinister with it. We are never given a definitive answer to these questions, which only deepens the impact of Under the Shadow and leaves the viewer seriously chewing the cud. One of the biggest compliments I can give the movie is that I’m certain it will benefit many viewings, that will no doubt uncover things you may have not noticed the first time around. For me the biggest amount of drama and emotion came from the relationship between mother and daughter. With the obvious stress and terror of the war raging on, tensions run high and Dorsa often clashes with her mother; but there is a deep love there that forms the core of Under the Shadow when it gets into the creepy territory of horror and must fight to save her offspring. There is scarcely a moment of complete silence in this film that enables it to become very chilling extremely quickly. Whether it be the wind wailing, static from the radio or the hum of outside, sound is ever-present and menacing too. There is a definite ghostly hum that simmers away in Under the Shadow to creepy effect, almost from the very start.

The acting of Under the Shadow is superb, largely because of how small it is that we get to watch these people act with well-written roles. The striking Narges Rashidi is extremely convincing , resilient and appropriately nuanced as the struggling and free-thinking Shideh, who battles both opposition from others, the terror of war and the prospect of something otherworldly at work. Her face says a thousand things that words can’t and you do feel her struggles in the face of multiple horrors, even when she is being stubborn and get through everything on her own terms that she thinks are the best. Avin Manshadi, as the young girl who appears to have seen the Djinn, is very impressive for someone so young and we want to help her in this time of horror, whatever kind that may be. The bond between the mother and daughter is undoubtedly believable and palpable due to the performances that completely sell their fears and terror in a situation that is unusual and frightening. Bobby Naderi appears briefly as the husband who is then called up to be of medial assistance, but he makes his part good for what small material he is given.

An unusual blend of mother-daughter drama and ghost story, Under the Shadow succeeds on its own spooky and thought-provoking merits, as well as giving us a glimpse of a place and time many of us may be unfamiliar with.

The Fighter

Tags

2010's, Amy Adams, Based on a true story, Christian Bale, David O. Russell, Mark Wahlberg, Melissa Leo, Sports Drama, The Fighter

Film Title

The Fighter

Director

David O. Russell

Starring

• Mark Wahlberg as Micky Ward
• Christian Bale as Dicky Eklund
• Amy Adams as Charlene Fleming
• Melissa Leo as Alice Ward

Based on the true story of boxer Micky Ward and his unexpected comeback, The Fighter is an exceptional sports drama that benefits from the highly powered cast it has and immensely satisfying direction.

It’s the early 90’s in Lowell, Massachusetts and Micky Ward is a promising boxer with talent but not much luck. He is trained by his half-brother Dicky Eklund, who had a shot at the big time but has since fallen into drug addiction, a large group of sisters on his back and his brash mother Alice manages his career, thought it seems her main interest is the money at first. Yet while Micky has loyalty to for teaching him almost everything he knows about boxing, he has started to become wary of his brother’s drug habit and how his mother manages his career. And after another defeat that seriously knocks the wind out of his sails, he contemplates whether he should continue with boxing. Of course, his family doesn’t take too kindly to this idea. Yet Micky finds comfort in the arms of honest barmaid Charlene, who tells Micky that he will have to cut ties with his family if he ever wants to succeed as a fighter in the big time. Dicky finds himself in serious trouble and is put in prison for various crimes, which severs a lot of the relationship between him and his brother for a while. It all comes down to Micky to make this decision of whether family loyalty is as important as striving to hit the heights of greatness before it is too late and he can longer do it.

David O. Russell is on confident directorial duties and brings a variety of talent and vision to The Fighter. He uses a good helping of grit and infuses it into the material, best shown in the slight grain the film is tinted with to heighten a sense of authenticity. The crowd pleasing aspects come off amazingly and we all love to root for the underdog story, and this is one such story. Between the upheaval of family shouting matches and Micky’s attempts for success, The Fighter manages to satisfy both audiences that it is going for; the fans of boxing movies and those who like based on true life success tales. There is some great use of juxtaposition; seen when a drugged up Dicky is recounting his promising fight from years ago against Sugar Ray Leonard and then inter cut to this is the real footage of his once successful time, clearly showing just how far he has fallen since. This allows characters to shine in the film, especially Dicky, who undergoes a major transformation once incarcerated. At first, The Fighter is a little slow off the mark, before soon swinging into victory by pulling your interest into the story with the amount of energy and growing inspiration it has going through its veins. There is a healthy sprinkle of humour in the film( particularly shown in the fact that Micky can hardly get a word in edge ways because of his outrageous family) that actually works in the long run and doesn’t distract from the drama. And once the film gains footing, it plays out rather nicely and doesn’t disappoint you with its outcome. A knockout soundtrack bristles throughout The Fighter, driving a lot of the action both emotionally and aurally.

Mark Wahlberg cuts a subdued and good-natured presence, tempered with a deep feeling of dilemma of what to do. He is caught between his family and his abilities, and Wahlberg captures that excellently as the quiet heart of the inspiring story. It’s as much a physical performance as one that is emotionally internal too, a balancing act Wahlberg maintains to a high degree. Wahlberg’s quiet and subtlety are offset marvellously by the immensely convincing work of Christian Bale, who picked up a fully merited Best Supporting Actor Oscar for playing Micky’s drug-addicted brother. His very appearance, skeletal and almost spider like in movements, is so wholly convincing and integral that you can’t tear your eyes away from him. Yet while visually adept for the part, Bale also emotively brings out the shattered dreams of the pitiful Dicky, who can’t see that his days as a fighter are over because of how hooked on crack he is. There is a tragedy to the part that Bale plays to perfection and both this and his physical commitment to the role burn into the memory for a long time. Amy Adams is well cast against type as Micky’s girlfriend and supporter Charlene. The role allows Adams to showcase her versatility as a sexy and feisty lady; and the part is very different from how many have usually seen her in the past. Starring as Charlene, she imbues the part with an understanding and realistic toughness that fits it like a glove, as she encourages Micky to take a chance. She drops a million f-bombs, calls people out on their bull and has an attitude to burn; all of which Adams brings to the table with her considerable talents that cement her as one of the best actresses and my personal favourites out there. Melissa Leo, who collected a Best Supporting Actress Oscar for her role, is on fine form too as the mother/manager of Micky. While the part calls for her to be showy and aggressive, Leo makes it all work and unravels how Alice wants good things for her kids, she just can’t handle anyone else that she sees as getting in the way and undermining her. The role could have easily become a caricature, but with the winning Leo playing it, any such trepidation melts away as her boisterous yet realistic performances attests to.

A well-directed and entertaining sports drama, The Fighter comes out as an inspiring and eventful story with an authenticity and splendid cast ensuring a knockout delivery.

Crazy, Stupid, Love

Tags

2010's, Analeigh Tipton, Comedy, Crazy Stupid Love, Drama, Emma Stone, Glenn Ficarra, John Requa, Jonah Bobo, Julianne Moore, Kevin Bacon, Marisa Tomei, Romantic Comedy, Ryan Gosling, Steve Carell

Film Title

Crazy, Stupid, Love

Directors

Glenn Ficarra and John Requa

Starring

• Steve Carell as Cal Weaver
• Ryan Gosling as Jacob Palmer
• Julianne Moore as Emily Weaver
• Emma Stone as Hannah
• Kevin Bacon as David Lindhagen
• Marisa Tomei as Kate
• Jonah Bobo as Robbie Weaver
• Analeigh Tipton as Jessica

A very disarming romantic comedy, that brings in touching drama effectively, Crazy, Stupid, Love guarantees laughs and sympathy with a big heart and fabulous cast. This is for my money, one of the better romantic comedies in years.

Middle-aged Cal Weaver’s life looks like it’s going swimmingly; he’s long time been married to high school sweetheart, has two children and a good job. But this is about to take a sever nosedive as Emily reveals that she has cheated on him and now wants a divorce. Dejected and shocked, he drowns his sorrows at the bar. While there, resident Lothario Jacob Palmer takes sympathy on depressed Cal and offers to help him turn his life around. Cal accepts and smooth-talking Jacob soon has him growing more confident with a makeover and tips regarding the dating scene. Cal finds that after getting awkwardly to grips with dating, he can be quite a guy and a real charmer with the ladies. Yet while gaining confidence and his mojo back, Cal can’t help but feel that something is missing and that he may have to confront the feelings he still has for Emily. Meanwhile, Jacob finds himself falling for law student Hannah, who initially rebuffed him but wants some excitement in her life after feeling that her steady but dull boyfriend is not what she was looking for. Because he has always been the player, Jacob doesn’t know how to approach the possibility of love. Also feeling the pangs of love is Cal’s son Robbie, who has a hopeless crush on his pretty 17-year-old babysitter Jessica( who it transpires has feelings for Cal herself). Much hilarity and unexpected results abound as a result of love.

Directors Glenn Ficarra and John Requa really know what they’re doing with this kind of project and ensure that the laughs flow just as much as the drama of it all. By far the largest and best thing Crazy, Stupid, Love has in its artillery is a snappy script. There is a devilish and side-splitting back and forth there;particularly in regards to the Cal and Jacob parts of the movie( the makeover of Cal is a very hysterical part), as well as a good few cynical jabs at pop culture’s idea of romance. What set apart from many other film of the crowd, was that it let the characters be flawed yet likable. With too many comedies, it becomes a case of us always having to like the characters all the time. Crazy, Stupid, Love does things differently by equally making time for the humorous aspects of the players and blending with the touching insights we get to them, expressing their insecurities and desires. The movie never ceases to be hysterically funny and irreverent, but the added parts of drama give it a lot more impact and made it a better movie that what I expected it to be. And rather than be overly predictable, there are some extremely well-timed surprises along the way, bolstered by a genuine heart and sympathy. Love and relationships are depicted as funny, complex and unexplainable, but always there no matter what. A gentle and amiable score perfectly matches the events on screen in a very accomplished way that doesn’t overstate things. The only niggle I found was that the film was a tad too long, but honestly that was the only thing in a very funny and satisfying movie.

A winning cast is the proverbial cherry on top. Steve Carell is inspired casting as the hapless Cal, who doesn’t know what to do with his life after discovering the infidelity of his wife. The required awkwardness, every man quality and emotion is glimpsed, but Carell succeeds the most at displaying his sense of humour once Cal gets a new lease of life. Some of his facial expressions are just so funny and equally touching, often in quick succession and it is hard not to want to reach through the screen and tell this guy that things will work out for him. Ryan Gosling plays remarkably well off the straight-laced and sympathetic Carell with his matinee idol image of a stud put to great use. Yet while his good looks and charisma are all there, he also gets the opportunity to reveal a bit more than just the standard role of the playboy wing man. Both men take up a lot of the story and have a blast doing so. The rapport between them is one of those winning combinations that benefits the other and ensures that the laughs and good nature of Crazy, Stupid, Love come percolating through. The distinctively emotional and expressive delivery of Julianne Moore is very well suited to the part of conflicted Emily. We witness how she begins to rue her decision to ask for divorce, despite being involved with someone else. As usual, Moore is terrific. Emma Stone is a vibrant flash of energy and has some sparkling chemistry with Ryan Gosling, alongside humour to burn. Laughs are also guaranteed courtesy of Marisa Tomei, playing the schoolteacher who sleeps with Cal and then becomes neurotic over him not bothering with her because of his new lifestyle. Her scenes are a real hoot and though the part is small, it’s well-played and memorable. Kevin Bacon has probably the least developed part of the man Emily cheated on Cal with, but has fun with it anyway in the way that he knows how. Jonah Bobo, despite his young years, comes off incredibly confident and mature when playing the young boy mooning over his babysitter crush, while also dispensing advice about love to grown ups. The lovely Analeigh Tipton sweetly portrays the longings of a girl near womanhood and the confusion of it all, very perceptively and honestly.

In fact, it must be stated that Crazy, Stupid, Love features such great chemistry from each cast member, it’s positively infectious.

A simply wonderful and warm slice of romantic comedy-drama, Crazy, Stupid, Love is the kind of the film that will leave you with a massive grin on your face.