50 First Dates

Tags

2000's, 50 First Dates, Adam Sandler, Blake Clark, Comedy, Dan Aykroyd, Drew Barrymore, Peter Segal, Rob Schneider, Romantic Comedy, Sean Astin

Delightfully funny and surprisingly touching romantic comedy, enlivened by burgeoning and fantastic chemistry from Adam Sandler and Drew Barrymore, 50 First Dates is a cut above a lot of romantic comedies. 

Henry Roth(Adam Sandler) is a womanising, love them and leave them guy who works as a marine vet in Hawaii. His usual policy is to make up fabricated stories with attractive tourists, give them a good time then leave them . That is until one day he walks into his local diner and spots the beautiful art teacher Lucy Whitmore(Drew Barrymore). But with Lucy it’s different as he finds himself feeling love for the first proper time. This budding romance however is dampened by the news he receives the following day. and being rejected by her, it’s explained to him that Lucy was in a car accident a year prior. The injuries she sustained have rendered her without the ability to create new memories, so every morning she wakes up thinking it’s the day of the accident but doesn’t know about the trauma. All her memories from before the accident are there which include the preparations for her father’s birthday; it’s the forming of new memories that’s the problem. Her protective father Marlin( Blake Clark)and steroid using brother Doug( Sean Astin) have even made it look like it’s the same day as a re-enactment as they don’t want her to deal with the emotional turmoil and knowledge of what happened to her. With this knowledge that the woman he cares for has short term amnesia, vows not to give up on what he sees as his shot at proper love. are none too pleased with this and warn Henry against pursuing this. But Henry is nothing if not determined to continue a romance, even if it means having to recount every day to Lucy in the hopes of breaking through her gaps in memory. With the help of a video camera and a diary, he might just do the trick, or so he hopes as he resolves to win her each day. Will romance blossom in this unlikely and unusual relationship that is fraught with setback yet filled with hope? You’ll have to watch in order to find out.

Peter Segal directs with a real feel and sweetness, which makes 50 First Dates flow very well. The location of Hawaii is a gorgeous backdrop for the film it must be said and a joy to view.While it still has some hallmarks of what you expect in a film starring Adam Sandler such as a bit of gross out humour and questionable elements , 50 First Dates is a far more gentle affair with warmth and an unexpected depth in parts. Not all of it works but it has a bit more edge than your average romantic comedy and I commend it for that. Plus, you find yourself really caring for the two characters at the heart of it. Sometimes in films of this ilk, the characters can mjst become. Thankfully, 50 First Dates actually delves into these characters and let’s us experience things with them. Hats off to the film for allowing that to happen and not just settling for the same old story. That’s not to say it’s flawless( some supporting characters and parts aren’t that great it has to be stated), but it definitely rises above other movies within the genre. A nice selection of familiar songs , done to a reggae style is also a treat for the viewer.

Adam Sandler is often an actor I can take or leave, but he’s just right here. He dials down on the frat boy antics and stupidity, choosing to okay things with humour but relatively straight. This approach works and it’s one of Sandler’s least irritating performances. Drew Barrymore is the MVP here contributing a genuine, lovely and luscious performance. Barrymore is the possessor of one of the most adorable and sunny dispositions to be put on film and it’s used beautifully here. Rather than just be a sad character, she lets us feel how Lucy is a happy girl slowly realising that romance isn’t easy due to her condition  and her desire to remember is supremely touching and filled with a sense of hope. I think that as a film, 50 First Dates has an ace in the hole in the chemistry between these two that is totally infectious. Rob Schneider has a few laughs as Henry’s stoner friend, but becomes a nuisance as the film progresses. More believable and standing out are Blake Clark and Sean Astin as the concerned father and brother of Lucy. They bounce off one another with humour and character, particularly Astin as a steroid loving wannabe bodybuilder who thinks he’s tough, yet is a long way from that. Kudos to Dan Aykroyd as well for a very good turn as Lucy’s wisecracking doctor. 

So all in all, 50 First Dates is an enjoyably funny, gentle and romance that hugely benefits from the rapport of Adam Sandler and Drew Barrymore and a deftly told story of a different but lovely coupling.

Lake Placid

Tags

1990's, Betty White, Bill Pullman, Brendan Gleeson, Bridget Fonda, Comedy, Horror, Lake Placid, Oliver Platt, Steve Miner

A horror-comedy hybrid about a giant crocodile terrorising a quiet Maine waterway, Lake Placid is something of a mixed bag. For all the flashes of humour and parts that have great tension, the rest of the enterprise fails to impress with the script straddling actors with roles that aren’t that interesting. Still, it’s a fun if slightly forgettable movie but it has some entertainment value amid its often confused identity .

A brutal attack that renders a scuba diver cut in half on Black Lake, Maine, raises immense concern for the safety of others. Gruff Sheriff Hank Keough( Brendan Gleeson) ,who was there with the river but didn’t see what killed him is understandably worried about the future at this point. He is soon joined by a diverse group of people from different fields who arrive to discover just what caused this bloody death. We have the calm and collected Fish and Game Warden Jack Wells( Bill Pullman) , who is skilled in the art of sarcasm. Following him is uptight and prissy palaeontologist  Kelly Scott( Bridget Fonda)who is assigned following a botched fling with her boss and is there because the fragment of an unidentified but very sharp tooth was discovered in the body, though she is not prepared for outdoor conditions in the slightest . And finally we have the eccentric mythology expert Hector Cyr( Oliver Platt) with oodles of money and not much in the way of tact. At first, some think it might be the result of a bear, though Hector is convinced that it is from a crocodile as he is something of an expert in that field. Everyone begins butting heads over the best course of action for the still unseen predator, but soon everyone must band together when terror strikes. It transpires that the creature in the lake is in fact a 30 ft saltwater crocodile that has a rather ferocious appetite. The rag tag group has to decide what to do before they end up as the beast’s next meal. But will any of them actually survive the carnage to tell the tale?

The directing of Steve Miner is passable enough and at least the running time is quite short which means Lake Placid is at least not a long movie. I must give kudos to some great set pieces that give bite to a muddled film. One really stands out for the suspense it induces. In it, the unusual Hector ,who believes that crocodiles are mythological and that he is immune to danger as he’s never been attacked, finds himself in the lake with the beast right behind him. His mix of awe and fear is palpable as it draws closer to him as if studying his every move and patiently waiting to pounce. If only the rest of the film could have been this thrilling, Lake Placid would have had it mad. Miner does very well in these parts, but can’t save the whole exercise from a feeling of lethargy. The script is the point of contention here. Scripted by David E. Kelley, who is known for rapid fire and very dry dialogue, some parts of his ideas work. They just end up feeling repetitive and juvenile as it goes on which doesn’t help matter. Some of it really has a snap too it with some humorous exchanges, but it ends up not mixing with the horror elements effectively.  At least Lake Placid looks good from a visual standpoint and the crocodile is rendered very well, it helps that we only see snippets of it before it lets loose. Stan Winston and his skilful animatronic work, blended with some pretty nifty CGI, make the predatory crocodile intense and believable, even if the film that houses it is not. The music is decent enough at dialling up notches of tension when it needs to but is nothing groundbreaking.

As the leads, we have Bill Pullman and Bridget Fonda. Both are actors I admire and have seen plenty of great work from. The thing is both are somewhat left with roles that don’t stretch them or really let them come alive. Pullman comes off better with his casual attitude and sarcasm providing a few great moments. Unfortunately Fonda is saddled with an annoying character which even her considerable talents can save. The part is whiny, bitchy and often obnoxious . Make no mistake, Bridget Fonda does what she can with material, she’s just left all at sea with a part that should have been better written. The best acting comes from Brendan Gleeson and Oliver Platt, who form something of a chalk and cheese duo who are always at each other’s throats. Gleeson is all scowling, not too bright but authoritative law enforcement, while Platt is out there ideas and an overzealous dedication to his vision that puts everyone in danger. Together the two are a complete blast, sparking off the other with witty retorts and snarling disdain that gives Lake Placid a much needed shot in the arm when it really needs it. They are by far the most entertaining actors and characters here it must be said. And if we are speaking of scene stealing, there’s a very amusing and outrageous small but memorable role for Betty White. She’s loud, foul mouthed and all knowing, plus clearly having a blast in a part you wouldn’t expect from her. I loved it whenever she appeared on screen and went for the jugular with her attitude.

So taking everything into account, Lake Placid is a daft, sometimes funny and scary film. But it just could have mingled better when melding the genres for my liking. It has its good parts though so at least that is something to take away.

Krampus

Tags

2010's, Adam Scott, Allison Tolman, Comedy, Conchata Ferrell, David Koechner, Emjay Anthony, Horror, Krampus, Krista Stadler, Michael Dougherty, Stefania LaVie Owen, Toni Collette

A seasonal horror comedy , Krampus provides a respite from the overly cheesy and schmaltzy stuff that gets dished out this time of year. Not perfect by any means, but very fun and creepy enough, with a good message at the core, Krampus is a dark Christmas delight. 

It’s just before Christmas for one family and it’s going to be one to remember. Young Max(Emjay Anthony)still believes in the magic of Christmas and Santa Claus, though he’s struggling with the knowledge that he’s going to have to endure the dysfunction of his extended family over the holidays . His parents, Tom(Adam Scott) and Sarah(Toni Collette) are good people who work hard and do their best and even they are sort of dreading this family get together at Christmas as they believe they know the outcome. Arriving at their house for the holidays are gun-toting arrogant spitting Uncle Howard(David Koechner) , his put upon wife Linda(Allison Tolman), their four kids, and drunken, foul mouthed Great Aunt Dorothy(Conchata Ferrell) . Also in this family are Max’s sullen sister Beth(Stefania LaVie Owen)and the knowing Eastern European mother of Tom, referred to as Omi(Krista Stadler). Tensions rise over dinner when the bratty, nasty children of Howard and Linda read aloud Max’s letter to Santa Claus. Feeling embarrassed and that everyone has lost their spirit, Max renounces his joy at the holiday and storms off to his room. He tears up his letter and throws it into the wind. Quickly, a blizzard arrives and knocks the power out at the house and the entire neighbourhood. The squabbling family panic with what to do. Beth goes out to see if she can find her boyfriend who lives nearby, but she doesn’t return. This puts everyone into desperation as horror begins. are attacked while searching for people by a strange creature from underground, a mysterious sack of presents comes to life and there’s something sinister lurking in the attic. And to top it all off, a demonic being with hooves and horns seems to be controlling this. He is Krampus, a sort of anti-Santa who punished those who don’t believe in the spirit of Christmas. When , he inadvertently summoned the demon which is now enacting its brand of retribution to what he sees as ungrateful people. Now it’s a battle for survival as Krampus and his minions lay siege to the house and death begins to envelope the dysfunctional family inside. It may not be a Holly Jolly Christmas for all if they can’t make it through.

Michael Dougherty keeps the atmosphere building well and the humour present( watch for a hilarious opening sequence of frenzied shopping and scrapping between customers portrayed in slow motion to the sound of ‘It’s Beginning to Look a Lot Like Christmas’) as we enter the story with a message of togetherness after much horror and how it’s navigated. Krampus isn’t necessarily insanely terrifying and bone chilling as it could be, but it’s undeniably tense and boasts a sprightly, creepy nastiness to it once chaos begins to rain down. The humour parts work, the characters are mainly archetypes but I think that is the main point of them as it adds a level of familiarity to the proceedings. The family in question actually learn quite a bit once they come under attack and Dougherty has a good understanding of this and the way that often in times of hardship or shock, pulling together is the only thing to do in order to make it out of the situation. Events are played lost entirely straight, which allows both the creep factor and underlying biting humour to nestle next to one another. Plus, I enjoyed the mythology  surrounding Krampus( who can be discovered by looking up Ancient European folklore) where it stems from. From my research, it’s something very intriguing and the film fills us in too via Omi who recaps her own experience and it’s displayed quite strikingly in stop motion. This sequence took me by surprise and really made an impact on me, while also clueing the audience up on the scary creature that’s on screen. 

And speaking of visual effects, the ones used in Krampus are a fine mix of practical and CGI, though the majority are practical and boast a certain old school appeal while being immensely creepy. There’s an army of viciously vindictive gingerbread men who take it upon themselves to terrorise eveyone, a spine tingling Jack in the box that boasts a multitude of fangs. Then of course there is the titular demon who we are wisely shown little of until near the end. A little sighting here and a bit of a reveal there is enough to keep us on the edge of our seats and entertained in this Christmas horror comedy. And for a film with bad 5ings happening, it’s refreshing to see that Krampus doesn’t really on blood and gore for chills. There’s hardly any blood to speak of, but that doesn’t mean that horrible things don’t happen in an atmosphere that grows more tense as it continues. The film does feel a bit stretched in its run time and parts of it sag for no apparent reason, this is especially present in the middle half which meanders. But the opening build up showing us just how dysfunctional this family is and the latter stages that show them truly understanding that their bickering actions have caused this horror, is very well executed and should be praised on that score alone while making up for the parts that don’t work. The ending is a divisive point which I won’t spoil. All I’ll say is that I’m on the fence regarding it and how it capped off Krampus. I’ve not made my mind up on whether I think it’s a satisfying and open ending or a cop out. Time will eventually tell no doubt I’m sure about that, but I feel like it’s growing on me as I write this review. A score of devilry and mischief compliments the film very well by being so strangely cheerful at the start then switching it up as horror engulfs.

A game cast is a big plus in Krampus. Adam Scott and Toni Collette are excellent as the stressed out parents who have to do battle with horror as they attempt to reconnect once more. It’s nice how they actually come across like genuine people too, instead of just overly cliched. Most of the characters in Krampus are by and large familiar but that doesn’t detract from what the cast does with them which is rather entertaining.Young Emjay Anthony stands out as the kid whose faith in the holiday is tested and whose actions accidentally lead to the arrival of Krampus. Anthony is a likeable kid and this transfers to us as we can sympathise with his feelings of alienation from family and how he just wants a nice Christmas. David Koechner gets a lot of the laughs as the boorish uncle who puts the red in redneck; though he comes in  useful as the gravity of the situation hits home. He undergoes a convincing transformation as does Allison Tolman as his much neglected wife, evolving from doormat to fierce. Conchata Ferrell gets some of the best moments of the movie and the best lines. Playing the slovenly, trashy and acidic Aunt with a major attitude problem, Ferrell is evidently having a total blast. She’s both despicably funny and capable as the story intensifies, showing a strength that is unexpected but welcome. A quiet yet haunting presence is found in the hands of Krista Stadler. Essaying the part of the wise old Aunt who knows more than she’s initially letting on, her sagacity and eventual revelation about the creature allow her to really strut her acting stuff beautifully and have probably the most emotional arc of Krampus. Stefania LaVie Owen is saddled with an uninteresting role as eye rolling sister who goes into the blizzard and never comes back. 

So while it’s got issues of its own that stop it from being truly excellent and a Christmas horror classic, Krampus should satisfy fans of horror comedy at Christmastime with its humour and dark chills. And I for one found it to be a surprise and mostly a positive one I must say. 

Empire Records

Tags

1990's, Allan Moyle, Anthony LaPaglia, Brendan Sexton III, Comedy, Coming-of-Age, Coyote Shivers, Debi Mazar, Drama, Empire Records, Ethan Embry, James 'Kimo' Wills, Johnny Whitworth, Liv Tyler, Maxwell Caulfield, Renée Zellweger, Robin Tunney, Rory Cochrane

The wonderful Gabriela asked me to take part in a blogathon to pay tribute to Maxwell Caulfield.I thought of the perfect film for it and that film is the coming of age comedy/drama Empire Records. My entry is a day early but I don’t think anyone will mind. 

Set over a day in the lives of the workers at the titular music store, Empire Records is a 90’s movie with plenty of good music and filled with many stars on the brink of making it. Plus, you’ve got offbeat characters and fun antics so it’s a great way to spend an hour and a half. Don’t go in expecting anything revolutionary and you’ll have a good time with this cult classic that’s stature has grown in recent years.

Empire Records is a funky little independent record store in Delaware, that provides a solace for the teenagers who work there under the caring eye of store manager  Joe(Anthony LaPaglia). The store prides itself on being independent and doing its own thing, not complying with corporate pressure to be mainstream, but all that could be in jeopardy. The sarcastic and wisdom dispensing employee Lucas( Rory Cochrane) discovers that there is a plan to sell the store and for it to be changed into a soulless music chain. Determined for this not to happen, Lucas takes the store’s takings and heads to Atlantic City. He plans to increase the money at the casino, yet his luck runs out quickly and the money is gone thanks to his harebrained scheme. The next day, the store opens for the arrival of has been former teen idol Rex Manning(Maxwell Caulfield), whose attempting some form of a comeback. It’s here that the rest of the characters are introduced. We have beautiful over achiever Corey(Liv Tyler) , a good girl who wants to lose her virginity to celebrity crush Rex, sexy and sassy Gina( Renée Zellweger) who goes through men like clothes, artistic A.J( Johnny Whitworth) who is in love with Corey but hasn’t had the courage to tell her, wild eyed stoner Mark(Ethan Embry) and troubled Deb(Robin Tunney), who announces herself by shaving her head within minutes of entering the store. Also appearing later are Deb’s on/off rockstar boyfriend Berko( Coyote Shivers)and Mark’s fellow stoner Eddie(James ‘Kimo’ Wills) .

Once Joe notices that the money is gone, he is furious and waits for Lucas to show his face. After animosity following Lucas resurfacing, Joe attempts to explain a plan that could stop the store becoming mainstream while still nursing anger towards the well meaning but careless Lucas. It seems that the money Lucas lost was going to be used to buy the store outright by Joe. Meanwhile ups and downs within the store flesh out the eventful day before them. A whole host of things take place in the twenty fours like a belligerent thief going by the pseudonym Warren Beatty( Brendan Sexton III) causing havoc, Corey and Gina falling out over their respective reputations, Deb’s feelings of alienation and indifference and the appearance of the washed up Rex who has seen better days and isn’t blessed with the kindest of egos . Above it all, feelings are aired and the misfits begin to band together to stop the takeover in an attempt to sock it to the man. 

Allan Moyle is on director’s duties and he seems to have a good grasp of teen angst and how music is always there for us. Complete with messages of fighting the system and being yourself even when you’ve got problems, Moyle injects Empire Records with a certain nostalgia value and the script sizzles with great one liners and plenty of hip dialogue. Moyle keeps the pace flowing as more crazy events mount up within the store, many of them overlapping and entertaining. Empire Records is far from flawless( parts feel rushed and sometimes there is one music montage too many). It isn’t exactly going for being the most original movie out there, but I think therein lies the appeal of Empire Records. Sure it has foibles and the characters are largely archetypes, but it’s not attempting to be a game changer and is going for showing teenagers and their problems/ antics shared with each other and the audience. It’s got a good nature to it and is hard to resist for its sheer quirkiness and witty nature. You get the feeling that for all the angst and eventfulness in the character’s lives, that there’s some light out there for them at the end when surrounded by friends and music. Fun can be gleaned from seeing certain stars at the beginnings of their careers in this comedy drama( chiefly Renée Zellweger and Liv Tyler) that has earned itself its place as a cult classic. Plus it provides one entertaining capsule into the 90’s complete with the fashions, records, VHS and lingo that dazzle. And you have to love the soundtrack that truly singles it out as a 90’s movie of the highest order.

 A game cast fit into their arguably archetypal parts that are well suited to them in an offbeat and idiosyncratic way. As the main sense of parental authority that isn’t stuffy or condescending is Anthony LaPaglia, who combines both a fatherly charm and a gruff  visage to the craziness around him. He’s a softie at heart though and functions wonderfully as the person who provides a sense of fun and respect towards his workers who all look up to him. Much humour and astute observation comes courtesy of Rory Cochrane as the witty yet unlucky Lucas. His deadpan humour and almost mystical advice to his friends is both in check and makes for most of the movie’s laughs. A luscious Liv Tyler is on hand to present pressured angst and a want to be more than just a goodie two shoes, coupled with notes of humour and sadness. Her blend of winsome appeal and longing is employed excellently here. Renée Zellweger in an early role aces it as her best friend who has a bad reputation but is a lot more than meets the eye. Zellweger savours the sassy one-liners that her part presents and delivers them with a wicked edge. Johnny Whitworth has the right attitude for the part of lovesick A.J, who can produce great art but it seems is unable to fully express his feelings of romance, while the main points of comedy come from the crazy and uninhibited turn by Ethan Embry as the stoner. Robin Tunney rounds out the main group with a decidedly dark yet acerbically funny performance as a girl crying out for help but also letting loose and just holding nothing back. 

And we now come to the man of the hour that is Maxwell Caulfield. He’s splendidly cast as the has been pop star whose attempting a comeback yet is never taken seriously by anyone. Caulfield captures the sleazy and entitled attitude of someone who doesn’t realise that their heyday is in fact over and that he’s an embarrassment full of arrogance and swagger. Complete with bouffant hair and bad spray tan, he’s a funny figure to witness and one that Caulfield plays very well. It’s really evident that Maxwell Caulfield is having a ball with this peach of a part. I enjoyed seeing a young Brendan Sexton III as the surly and amateur thief who begins to feel at home inside the confines of the store. In support there is Debi Mazar as his personal assistant who actually can’t stand him and sides with the store, plus the music stylings of Coyote Shivers and slacker humour from James ‘Kimo’ Wills.

So while it has its moments that detract from the overall product, Empire Records is still an entertaining film to watch, mainly for the performances and of course the music 

Murder by Death

Tags

1970's, Alec Guinness, Comedy, David Niven, Eileen Brennan, Elsa Lanchester, Estelle Winwood, James Coco, James Cromwell, Maggie Smith, Murder by Death, Murder Mystery, Mystery, Nancy Walker, Neil Simon, Peter Falk, Peter Sellers, Richard Narita, Robert Moore, Truman Capote

A hilarious spoof of the murder mystery genre that lampoons nearly every cliche there is, Murder by Death benefits from a sensational ensemble cast and a real feeling of delightful mischief shot through its veins. 

The eccentric millionaire Lionel Twain( Truman Capote) is hosting a weekend at his secluded house. Assembled are Chinese Inspector Sidney Wang( Peter Sellers) accompanied by his adopted son Willie(Richard Narita), who he always informs people is Japanese. High society detective duo and husband and wife Dick(David Niven) and Dora(Maggie Smith) Charleston are there, as is prancing Belgian detective Milo Perrier(James Coco)and his much abused chauffeur Marcel(James Cromwell). Also in attendance is hard boiled gumshoe Sam Diamond(Peter Falk) and his loyal but overlooked secretary Tess Skeffington( Eileen Brennan), followed lastly by jolly English sleuth Jessica Marbles(Elsa Lanchester)and her Nurse(Estelle Winwood), who ironically is in need of more care than her patient. After the guests have gathered and met dry-witted blind butler Bensonmum(Alec Guinness) and deaf-mute cook Yetta(Nancy Walker) , the events begin to take form. Twain believes he is the best on the subject of solving crimes and has gathered this group to pose a challenge. He informs his guests that at midnight a murder will occur. Whoever solves this crime will receive $1 million dollars, if no one does their reputations will be in tatters and Twain will have his vain satisfaction. To ensure no one leaves, Twain seals the house off  Sure enough, a murder occurs and thinks get more complex as the hours continue. A discovery that the house has revolving rooms and that the servants are far from what they seem to be adds another layer of mystery. The worried yet mightily curious group resolve to get to the bottom of this. But the case proves to be very twisty for these detectives in their search for the answer, complete with a house that is most unusual and plenty of clues hanging in the air.

Murder by Death has Robert Moore in the directors seat and his  direction is unobtrusive yet very satisfying, allowing the funny moments to really flow and be seen. Penned by the talented Neil Simon, Murder by Death hits the right spot of spoofing the mystery genre and having a ball in revelling in the many cliches that abound. The main group of characters are all fashioned after famous literary and cinematic detectives of whom humour is derived from spoofing their well known personalities. I had a ball seeing the similarities and allusions to the great detective characters of fiction infused with comedic overtones.  The film is undoubtedly silly and yet that is partly the point and Simon definitely seems to enjoy this fact, while layering on red herrings and confounding suspense as to what is transpiring and what is truly real. The dialogue comes quick and fast, like delightful bullets of energy and tongue in cheek humour in the best way that Simon can. Plus you’ll be laughing so much at the film you can overlook parts that are dated and wouldn’t be acceptable now( most prominently the use of yellow face for Mr. Wang.) There’s an argument  that the character is actually supposed to subvert the trope but it’s still problematic in my eyes and will no doubt be a bone of contention for many. Set design is in need of much praise; showing the big country house as akin to a funhouse with rooms that move on their own accord and things ready to jump out. The music score as provided by Dave Grusin has an unending sense of fun too it as if topping its musical hat in a jaunty manner that suits the film down to the ground. 

A star-studded cast is the cherry on top of an already impressive cake. It’s a thrill when an ensemble cast is used and nearly everyone is given something to do. Front and centre, and giving one heck of a performance is Peter Falk. Channeling Humphrey Bogart, Falk plays the tough-talking, rough and tumble detective who says it like it is and doesn’t give a damn what you think. The part is injected with wise-cracking humour at which Peter Falk is mightily skilled at. If you can overlook the problematic yellow face make up sported by Peter Sellers , his performance is quite good and he comes out with some comic one liners of the highest order. As aforementioned some think his portrayal is in fact lampooning the ridiculous cliched nature of the character, but its still something that is up for the viewer to decide. Truman Capote, best known for his writing, is well employed as the mastermind behind the most unusual events going on. With his slightly sneering and camp mannerisms, he is certainly memorable as the instigator of mystery. David Niven and Maggie Smith play off each other wonderfully as the high society couple with exquisite, upper crust manners and dry, cynical humour. Both professionals are a joy in this film and I very much enjoyed whenever they were on screen as they are such a hoot. Eileen Brennan, of raspy voice and good comic yet sympathetic timing, is well cast as the downtrodden, overlooked secretary who clearly has the hots for Diamond but can never seem to catch a break with him, despite her many attempts to instigate something. James Coco has a ball as the arrogant, know it all who is vain beyond belief and argumentative to the last, while Alec Guinness contributes a deep vein of droll humour as the blind butler who might be more than he seems. Nancy Walker does what she can with a small role, she definitely gets a big laugh once murder is committed. Elsa Lanchester and Estelle Winwood are an inspired and ironic duo, with the former summoning up all her gusto and the latter slowly revealing a witty side, despite everyone thinking her character is simply senile. Keep an eye out for a very young James Cromwell as the put upon chauffeur of Perrier, he really shows comedic chops in this movie. Richard Narita is sadly left to flounder with not much in the way of a part, though he manages some moments of humour. 

So if you’re in the mood for a good comedy spoof of the mystery genre, Murder by Death is a glorious and hilarious place to start because of its rapid fire wit and quality laden cast of great stars. 

Lady Bird

Tags

2010's, Beanie Feldstein, Comedy, Coming-of-Age, Drama, Greta Gerwig, Lady Bird, Laurie Metcalf, Lucas Hedges, Saoirse Ronan, Timothée Chalamet, Tracy Letts

Greta Gerwig makes her solo directing debut with Lady Bird; a funny, sometimes painfully honest but incredibly personal story of a teenage girl coming of age in her senior year of school. Her vision is aided by two sensational performances by Saoirse Ronan and Laurie Metcalf as the mother and daughter at the heart of a tumultuous relationship.

It’s 2002 in Sacramento, California. Here we meet Christine McPherson( Saoirse Ronan), a teenager in her senior year of school. She attends a strict Catholic school, despite the fact her parents are struggling financially. She also goes by the name Lady Bird in an effort to stand out from what she sees as a boring place of no culture or event of note. Her opposition frequently clashes with her hardworking mother Marian( Laurie Metcalf), which results in bust ups throughout the year. Marion is a nurse who works doubles to support the family as her genial husband Larry( Tracy Letts) has been laid off and often tells Lady Bird that she is aspiring for too much. Both are at loggerheads and then fine, followed by more arguing that ebbs and flows. Meanwhile, Lady Bird, who knows she is distinctly average at a lot of things but isn’t short on ambition, has to find her way through the last year of school. which includes taking part in the school play, falling for two different guys in the form of Danny (Lucas Hedges) and sardonic, cool guy Kyle ( Timothée Chalamet), finding trouble with her best friend Julie( Beanie Feldstein) and generally feeling like everyone is somehow against her dreams . At the centre of it all, her relationship with her mother takes twists and turns as they attempt some form of understanding.

While Lady Bird does observe conventions of standard coming of age movies( boys, falling out with friends and rebellion), but there is something in the way that the story is told that makes it feel fresh. The personal undertone that the passionate Gerwig has infused the film with really stands out and captures that awkward time in someone’s life where everything feels like life or death. So while it isn’t an original or full on groundbreaking film, the approach taken and blend of comedy and drama is to be applauded for pulling us in and how it has us laughing one minute and emotional the next. Many scenes illustrate this bit the opening of Lady Bird and her mother going from niceness to bickering in minutes, along with the former throwing herself out of the car so she doesn’t have to listen to disagreement, clearly sums up the kind of film this is. Also, the pink cast Lady Bird wears for most of the film is an apt bit of symbolism that clearly displays our heroine’s desire to be an individual at any cost.

Lady Bird manages to avoid the cloying nature that often saturates a coming of age story to the point of mawkishness and steers clear of being melodramatic. Sure quite a bit happens to the titular character over a year, but it’s shown in such an organic yet warm way that tempers events with seriousness and comedy. I’m a fan of coming of age stories when told with substance and style and Lady Bird owns both of those admirable qualities. There will still be those who will write of Lady Bird as just another teenage comedy drama and not give it a chance. But I think they are really missing out on an often hilarious yet deeply effective evocation of a young girl turning into a woman who wants something out of the world to happen to her. The gold hues of the cinematography, coupled with the use of montage and choice of music, are gorgeously used to create a definite feeling of looking back on memories.

Now on to the acting in this teenage comedy drama and it’s clear to see that it’s one of the best things in Lady Bird’s impressive arsenal. In the lead, the always talented and confident Saoirse Ronan excels stunningly. Those blue peepers and arresting face chart the varying contradictions of Lady Bird as she faces adolescence and how she views it as an existence sent to test her. She’s restless, petulant, dramatic, funny, whacky, caring and acerbic. I’m simply running out of adjectives to describe Ronan here, she is that good at imbuing they part with bite. Ronan makes for a memorably flawed but endearing heroine, even when she’s being unpleasant. It’s the definition of a complete performance that just ticks all the right boxes and Saoirse Ronan owns the role with every fibre of her being. For an actress still so young, I’ve a feeling that she’s becoming one of the finest actresses of her generation and that’s not an exaggeration. Laurie Metcalf superbly supports Ronan with her work portraying a no-nonsense mother who as someone else mentions is as loving as she is frightening. Metcalf supplies the story with a serious undertone but isn’t above humour. Simply stated, she’s remarkable as an opinionated, careworn woman trying to raise a daughter who insists on creating difficulty for her. Ronan and Metcalf are magnetic together; both characters won’t admit it but they do share similarities that they would much rather not. This sets the scene for much drama between them. Beanie Feldstein is an absolute delight as the best friend who is so endearing that you want to give her a hug. The way Feldstein plays her shows that she’s truly alive in her best friend’s company and it’s what gets her through her low self-worth. Tracy Letts is quietly and subtly convincing as the protagonist’s father who is the good cop to his wife’s bad cop. Letts infuses him with a warmth but a big level of sadness as this character is unfortunate but doesn’t make a fuss. He is very moving in his work and his scenes with Saoirse Ronan are a delight. Lucas Hedges and Timothée Chalamet play the two main boys in Lady Bird’s life with energy and awkwardness for the former and scowling but charming rock dude for the latter. I liked both parts from these actors as they had more to them than just the boys the heroine likes, particularly Hedges and his story though Chalamet is no slouch either, far from it in fact. 

Hilarious yet deep, stylish but buttressed by story, Lady Bird is a marvellous solo debut for Greta Gerwig that soars owing to its direction, script and two deservedly Oscar nominated performances at the centre of it.

Knives Out

Tags

2010's, Ana de Armas, Chris Evans, Christopher Plummer, Comedy, Daniel Craig, Don Johnson, Jaeden Martell, Jamie Lee Curtis, Katherine Langford, Knives Out, Lakeith Stanfield, Michael Shannon, Murder Mystery, Noah Segan, Rian Johnson, Toni Collette

A hilarious and thrilling murder mystery, updated to the present and sporting one hell of a talented cast, Knives Out finds Rian Johnson at some of his most skilful and fun.

Harlan Thrombey( Christopher Plummer) is a wealthy but ageing crime author who is celebrating his 85th birthday. His wide, extensive family, of whom most are greedy, are there at his county mansion for the occasion. There is Harlan’s children; gloating businesswoman Linda( Jamie Lee Curtis), uneasy and timid until he has a drink inside him Walt( Michael Shannon) , plus Harlan’s bitchy, self-serving daughter in law Joni( Toni Collette) and her put upon daughter Meg(Katherine Langford). There’s also Linda’s crude husband (Don Johnson), and their man-child brat of a son Ransom( Chris Evans) , plus Walt’s troll child Jacob( Jaeden Martell) who delights in being a nasty young man. Most importantly, Harlan’s nurse Marta( Ana de Armas) is present but treated suspiciously by family when others aren’t looking, though they claim to hold her dear. The next day however, Harlan is discovered with his throat slit, the apparent result of a suicide. Two cops, Detective Lieutenant Elliot (Lakeith Stanfield) and Trooper Wagner( Noah Segan) come to investigate as their soon becomes evidence of foul play afoot. Also on the case, after being mysteriously tipped off about it, is seasoned detective Benoit Blanc( Daniel Craig). He’s an investigator with his own way of doing things that often baffles others but often turns up intriguing possibilities. Sure enough, he sets about investigating and comes to believe that cruel intentions where at work in the demise. Marta, who seems to be the only person who treated Harlan like a human, has a condition where if she tells a lie, she vomits. This immediately puts her as an ally to the side of good or does it as this is one case in which nothing is what it seems? Blanc continues to investigate as the family fights, bickers and basically tears each other apart as they all want a part of the fortune. Marta is the one person who doesn’t seem interested in the money as she valued the companionship and respect she shared with Harlan. What spins out from all this is a most twisty case involving one hell of a dysfunctional family.

Rian Johnson is the man behind the camera and the pen and in both capacities, he doesn’t disappoint with this film. The sharp, scintillating script of cracking one liners and genuine mystery. Rian Johnson is clearly having a blast both paying homage to the murder mystery movies of yesteryear and giving it a contemporary update that is most entertaining. I find it hard to fault when someone is directing and crafting with this level of giddiness and panache. Though it covers many of the genre tropes we know and love, the underlying humour and knowing meta references to all matter of murder mystery TV shows and movies are most welcome and pretty cool to spot. Plus, Knives Out has a brilliant sense of mystery and unease as we try to discover the cause of untimely death for Knives Out truly breathes new life into the genre, and still has time to make comment on immigration, greed and the accountability of family. Thankfully none of this is overbearing or ham fisted, rather it is presented in a manner that flows along with the central mystery and just as entertainingly. Some lulls in the proceedings, (like the film maybe benefiting from a bit of a trim and certain characters not being given much to do) can be forgiven mainly because Knives Out twists and turns us and our expectations. It’s by and large a surprising film that breathlessly speeds along and misdirects you just when you think you’ve got a handle on it’s mystery. It’s a damn fine time that is purely entertaining and keeps you glued. The setting of the house is ace; with the large breadth of the domain and the various ways it is majestically shot with a certain old fashioned flair, really adding to the overall atmosphere of both lightness and darkness but never too overpowering as to detract from the crackerjack script. Plus, I can imagine that upon repeat viewings of Knives Out, you’ll notice something different each time. The music is a scintillating addition, with erratic strings and gorgeous piano conveying the craziness and underlying depth of the piece. Simply sensational is what the score from Nathan Johnson is .

Where Knives Out really hits the jackpot is in the talented cast. Daniel Craig heads up events with a thoroughly hilarious and eccentric turn as the celebrated detective mysteriously on the case. Using a surprising but superb Southern drawl and immensely kooky humour, Craig is having a ball and is one of the big standouts in Knives Out. Seriously, Craig is fantastic here in a role very different from Bond especially in its ability to be sharp as well as flamboyantly tongue in cheek . Matching him with a quiet dignity and decency is Ana de Armas in a role that is a showcase for her considerable talents. With her angelic face, arresting eyes and intelligent authenticity, de Armas is gifted a peach of a role and creates the beating heart of the narrative. Also, she blends areas of mystery within the part that still keep us guessing of her true involvement, though she’s definitely what you’d call the moral centre of Knives Out. I feel like de Armas is an actress of great promise if her work here is anything to go by and I hope she gets more successful roles like this one.

Chris Evans, playing very much against type, relishes being a nasty but hilarious piece of work who provides much in the way of snarky comedy and bratty, entitled antics. He gets some of the most scintillating lines to be found in Knives Out. Toni Collette, who has long been an actress I adore for her versatility, does it again as the vapid, shallow and grasping lifestyle guru who loves to brag about how great her life is. Collette bitches it up as this venal harpy who disguises her nastiness with a coy smile. Also getting some catty one liners and displaying a sense of authority under scrutiny is the ever excellent Jamie Lee Curtis( her comic timing and very sharp-witted presence is sparky and scene-stealing). Michael Shannon also has a lot of presence as the son who feels cit out of the family because of his weaknesses and inability to do things right. We feel some sympathy for the man who feels overlooked in the early scenes when Shannon gets to a level of morality, but Shannon truly comes alive when he’s required to be mercenary and underhand. Don Johnson creates a character of smarmy nastiness and underhand nature, who forms yet another snippet of a viper’s nest that is family.

Unfortunately, Jaeden Martell and Katherine Langford are both saddled with roles that don’t amount to much in the same way the two cops( Lakeith Stanfield and Noah Segan) are largely filler and fail to stand out in an all star cast. But hell, that’s what happens when you have a big ensemble cast to contend with. And none of them are bad, just not utilised effectively. Veteran actor Christopher Plummer, whose very resume is enviable, still shows fantastic talent and fun in the key role of Harlan. We are shown a shrewd, cunning but generous to those who deserved it kind of man. His impact is felt as the story continues following his seemingly untimely demise.

Boasting one cracking ensemble of actors, a director on sizzling form and suspense mingling with laugh out loud comedy, Knives Out is a sly, devilish treat that gives an old genre an upgrade with results that would please the Grande Dame of Murder mystery, Agatha Christie.

Yesterday

Tags

2010's, Comedy, Danny Boyle, Drama, Ed Sheeran, Himesh Patel, Joel Fry, Kate McKinnon, Lily James, Music, Richard Curtis, Romance, Yesterday

Danny Boyle directs this warmly engaging tribute to the Beatles and the journey of love in a film that’s inviting without being cloying. Yesterday is the definition of a feel good movie.

Jack Malik(Himesh Patel) is a struggling young man whose passion is singing but whose never had success. He’s beginning to see that it might be the end of the road in Lowestoft as he’s not amounted to much. His best friend and manager Ellie( Lily James) attempts to sway him into not forgoing his dreams as she believes in him. This is coupled with the fact that she is desperately in love with him, though Jack has never noticed it. He is on the verge of giving up when something unusual happens. He’s riding home on his bike one night when a global power cut ensues and coincides with him being hit by a bus. Thankfully, he lives and though injured will recover. But once he comes around, Jack notices one strange fact about the world around him: no one remembers The Beatles. At first, Jack things it’s a bit of a joke but a few searches online reveal that all knowledge of them has been wiped. This in turn has led to other things not being remembered but the big one is the iconic Beatles. Jack starts to sing their music as if it’s his own to bring it the attention it deserves. This backfires as people assume he has written these classic songs and he starts to become successful. Even Ed Sheeran is impressed and his manager Debra(Kate McKinnon), who worships at the altar of greed and business, snaps Jack up. Soon he’s famous for singing these songs, but struggling with his own feelings of guilt that started off  as him trying to be good. Yet just how much longer  can Jack live a lie? And what of his relationship with Ellie, who obviously loves him?

Though it isn’t the first film to come to mind when I think of Danny Boyle’s directing, Yesterday shows him in mellow but touching mood. His eye for detail is very much on show with canted angles to signify the world being upside down for Jack and some pretty groovy transitions. Thinking on it, of late the underdog story has featured in Boyle’s films, only this time there’s a lot more laughs that show the director having fun. It’s aided by a winning script by Richard Curtis that mixes sarcastic humour and life-affirming love. Curtis often features lovable losers in unusual circumstances or being tested and Jack is no exception. The observations of what might have been without The Beatles are both funny and reflective, particularly in the last third where things get somewhat poignant. There’s a what if angle to a lot of Yesterday that’s delightfully daffy yet retains an emotional impact. And there’s a neat little unexpected twist that is very intriguing not to mention surprising. But because I’m a good guy, I shall not spoil it. Yesterday is t perfect and some areas seem overly familiar, but from an overall viewpoint, it’s a very nice experience and one that will leave you smiling.  Hearing the music of The Beatles is always welcome to my ears and hearing them performed with zeal and resonance in Yesterday is splendid. And I can’t not mention the romance of this film, which is tentative at first but eventually blooms as Jack realises just how important and loyal Ellie is to him.

Himesh Patel, who is best known for starring in Eastenders, is superb in the lead role of sympathetic Jack. Though his actions get him in trouble, he’s a character who tries to do the best and Patel brings that out of the part with a combo of subtlety and comedy. I hope to see in more movies as he’s really got potential as an actor. And I can’t forget his singing, which is also worthy for praise. Alongside him is the luscious Lily James, who is steadily becoming a very reliable actress. Her quirky mannerisms, winning smile and downright adorable nature are on full display for a lovely performance. You can’t help but fall in love with Lily James here. Ed Sheeran shows he’s not afraid to parody himself with a tongue in cheek role as a version of himself. I must say he does elicit quite a few laughs. Speaking of laughs, Joel Fry contributes fine humour as Jack’s right hand man whose not the brightest person, but who’s goofy heart is very much in the right place. On the other scale of laughs is Kate McKinnon who is simultaneously a ruthless bitch after money and an unhinged hoot The balancing act is effectively walked by McKinnon who is obviously revelling in being devious.

Capitalising on a strange but impressive premise and directed with skill by Danny Boyle, Yesterday is a charming, thoroughly enjoyable film, enlivened by the music of the Beatles and work of Himesh Patel and Lily James.

The Favourite

Tags

2010's, Comedy, Emma Stone, Joe Alwyn, Nicholas Hoult, Olivia Colman, Period Drama, Rachel Weisz, The Favourite, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Olivia Colman as Queen Anne
• Rachel Weisz as Sarah Churchill, Duchess of Marlborough
• Emma Stone as Abigail Hill
• Nicholas Hoult as Robert Harley
• Joe Alwyn as Samuel Masham

A riotous, outrageous and caustically witty look at the court of Queen Anne and the machinations of it, The Favourite is both savage and very funny as directed by the maestro that is Yorgos Lanthimos.

It is the early 18th Century and England is at war with France. Queen Anne, The last of  the Stuart monarchs, is on the throne but is besieged by sadness, gluttony and manic mood swings. She has lost seventeen children and now keeps seventeen rabbits in their place, while also enjoying many unusual activities. Anne is distracted from her duties as Queen and is extremely vulnerable. She relies heavily on Sarah Churchill, the Duchess of Marlborough. Sarah is powerful and persuasive, trying to make the Queen continue with the war as her husband is at the helm and she wants a level of power. Although she obviously cares for Anne( with who she is secretly sharing a bed), she is very manipulative and uses her position of favourite to her advantage. Although she is in the Queen’s life and attempts to steer her away from the political efforts of leader of the opposition Robert Harley, she doesn’t account for the arrival of someone vying for position. This person is her impoverished cousin Abigail Hill, who was formally of high society but now of a lowly station. She begs Sarah for a job and is put in the scullery. This is much to her chagrin and she aspires for more in life than the drudge of being a simple servant. She gains a chance at climbing the ladder when she helps with making something that eases the gout which the Queen suffers from. Anne takes a shine to Abigail and has her become an ever more present person in her life. Sarah doesn’t take kindly to this, having misjudged Abigail as just a simple innocent. The actual fact is that Abigail is ruthless and cruel, willing to bend over backwards in favour of the Queen but secretly working her vicious powers to secure a foothold in society. Soon a dangerous and vindictive grab for power is at play, with both Sarah and Abigail hoping that they come out on top as the favourite of Queen Anne.

The Favourite finds Yorgos Lanthimos at his most anarchistic, tearing apart the restrained image of period pieces and inserting wildness and dirty games. If period dramas are often seen as rather innocent, The Favourite is a welcome, atypical piece that isn’t afraid to be weird and bracingly eventful. Featuring lust, eccentric activities like racing ducks and lobsters, as well as a very sexually dark atmosphere, The Favourite is very much it’s own being and an amazing change of pace. Historical accuracy is probably not what you’ll find here, but when has history ever been this fun or oddball? The script wisely makes the women layered, peeling back to reveal the flawed but fascinating nature of all of them. And there is genuine emotion to be found in this weird and cruel world of 18th Century court, mostly found in the vulnerable but not completely broken Anne. It may not be written by Lanthimos, but it unmistakably captures his sensibilities and transfers them to a sinfully, devilish and amusing tale of rivalry, coupled with a liberal sprinkling of swear words. And the spinning, panning and fish eye lens employed supplies a dizzying and whirling visual style that marks it as something different. Add to this the flickering, golden interiors that bathe a lot of the action in a dusky setting, The Favourite aces it. On musical grounds, classical music fills the main bulk of the film, creating high drama and a quickening intensity to the power struggle at the heart of The Favourite. The only tiny flaw, and it is very small, is that the film does sometimes run aground and needs a bit more pace. But with that being my only minuscule gripe, I think it’s safe to see The Favourite is one of the most outlandish and excellent movies in my recent memory.

What really brings The Favourite to an amazingly high level is the work of a trio of fine actresses. Comprising Olivia Colman, Rachel Weisz and Emma Stone, they turn in some mightily effective work that ranks as some of their best. Olivia Colman is the centre of it all with a performance of both tragedy and comedy. Anne is a melancholy and almost childlike woman who seems to be as fragile as glass and as changeable as mercury. Colman finds these mannerisms and adds yet more levels to this character, telegraphing a whole host of emotions from pity to humour as Anne shows she’s not as temperamental as she at first appears . Simply put, Colman is winning and ideal in her acting here. Ably matching her is Rachel Weisz; all clear-cut words, biting wit and intense looks. Weisz clearly relishes the dialogue and gets some wickedly, catty put downs. Yet like the other ladies here, Weisz displays another side to her role and makes it multi-faceted. Emma Stone, complete with crisp, English accent, delivers one of her most memorable performances in a role that is far away the most daring one she’s ever done. Being a vindictive charmer whose innocent appearance masks a grasping and scheming viper, Stone’s having a ball. There are flickers of desperation there, but Stone most excels at being nasty and seductive. It’s not hard to see why all three ladies are in awards contention. In supporting roles, Nicholas Hoult is a hoot as a plotting but ridiculous member of Parliament, whose giant wig is as big as his ego. Joe Alwyn also provides much silliness and rakish behaviour as a nobleman who becomes infatuated with Abigail.

A completely brazen and well acted movie that boasts the trademark uniqueness of Yorgos Lanthimos and a strange depiction of power play in regards to royalty, The Favourite stands as one entertaining and unusual movie that for me is a must see. It’s a crowning achievement of directing and acting.

The Lobster

Tags

2010's, Angeliki Papoulia, Ariane Labed, Ashley Jensen, Ben Whishaw, Colin Farrell, Comedy, Drama, Jessica Barden, John C. Reilly, Léa Seydoux, Michael Smiley, Olivia Colman, Rachel Weisz, The Lobster, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as David
• Rachel Weisz as Short Sighted Woman
• Léa Seydoux as The Loner Leader
• Ariane Labed as The Maid
• Ben Whishaw as Limping Man
• John C. Reilly as Lisping Man
• Olivia Colman as Hotel Manager
• Jessica Barden a Nosebleed Woman
• Ashley Jensen as Biscuit Woman
• Angeliki Papoulia as Heartless Woman
• Michael Smiley as Loner Swimmer

A provocative and riveting satire on the societal pressures of being in a relationship, The Lobster has Yorgos Lanthimos at his most biting and weird with this drama, highlighted by very dark humour.

In a dystopian future, being in a romantic relationship is enforced. Those who are single are sent to a coastal hotel. David is one such person after his wife leaves him in the opening scenes. Sure enough, he is whisked off to the hotel. He is informed by the Hotel Manager that he must find a soul mate within 45 days. If he fails to meet this deadline, he will be turned into an animal of his choice( his being a lobster that gives the film its title.) Guests are expected to find someone who they share a certain characteristic with, no matter how small or seemingly insignificant. In this strange system, many rules must be obeyed and are punishable with force if one doesn’t submit to the way of thinking. David attempts to find a companion in this bizarre place, as he watches others go to unusual measures to ensure they aren’t transformed. The guests are given some chance at surviving as each night they are sent into the woods to tranquillize people known as The Loners. Each body tranquillised earns them an extra day to find a possible soul mate. After a brutal encounter with a heartless woman, David flees the hotel and into the woods. There he meets The Loner’s; headed by a steely female leader. She explains that The Loners don’t believe in or condone love. In fact, if anyone does fall in love while in their camp, they are buried in a shallow grave that they dug earlier and left to die. What was first an escape from what he thought was a nightmare, being in the company of The Loners is just as restrictive. But David can’t help but fall for a short-sighted woman, a connection that puts him and her in extreme jeopardy. Yet as he is caught between two evils, he must decide what must be done to survive and maybe experience love with the Short Sighted Woman.

Yorgos Lanthimos is on dark and typically idiosyncratic form in his direction of The Lobster. His penchant for wide-angle shots and those that cut out faces are apparent and coupled with a number of close-ups. The grim and evocative cinematography of Thimios Bakatakis, shows the oppressive thinking of most in the film and is like a constant gloomy spectre over them. The fact that a lot of it is natural lighting adds a lot of dimension to the harsh surroundings and creepy underbelly of it. Typical of his work, Lanthimos spins mordant and very black humour into The Lobster. It infuses the movie with a strange tightrope that it walks admirably between dystopian shock and stinging lampooning. Absurdist is the order of the day as shocking events take place but are often undercut with a nasty glee and deadpan delivery. Which brings me to the script, as envisioned by Yorgos Lanthimos and his regular collaborator Efthymis Filippou. The strange, clipped way of speaking that was witnessed in Dogtooth is here, with more bite and laughs thrown into the mix. As troubling happenings and the full nature of both systems David finds himself in unravel, we are left with an acidic critique of modern dating and the implications of it. Lunacy is equated with normalcy here as guests of the hotel and The Loners represent two extremes of opinion and enforcement. Conflict with characters arises as both ends of the spectrum clash. And with most characters rendered no name, only a certain quality, weirdness continues to flow through the veins of The Lobster. Be warned, The Lobster will make you laugh as much as it unsettles with a collection of startling scenes. Macabre is one word that comes to my mind when describing this skewering of partnership and the way we all in some way conform to what’s expected of us in regards to relationships. how snap second judgements are apparent in real world relationships is explored heavily and symbolically by the policy of having to find someone who shares a similarity. Though events are exaggerated to grotesque and horrifying heights, they still have something to say to us about the world. And we are also left to deliberate a lot of things, building an ambiguous current from start to bizarre end. The piercing and often mournful score is unusual and another representation of just how outlandish the premise is and how twisted it is when you think about it.

A stellar cast get in touch with the weirdness and deadpan nature of The Lobster and what Yorgos Lanthimos envisioned. Colin Farrell displays great comedic chops, of the physical and verbal variety. Looking curiously out of sorts( plus shape), with various, vacillating expressions and with a biting look at things, Farrell is a very excellent lead of the film. Rachel Weisz shows the most emotion in the film, having the amazing ability to use a monotone voice(typical of the tone of the work of Lanthimos and in narration here) and have a face that expresses so much, particularly happiness and sorrow. It’s a fine piece of work from the always interesting and talented Rachel Weisz. Léa Seydoux is searing and very chilling as the leader of the opposition, whose methods are just as cruel and unusual as the ones David ran from back at the hotel. If looks could kill, Seydoux would be slaying us all with just how vindictively convincing and brutal she is. Ariane Labed has mystery to her as a maid who you never know if you can trust her or not, as there is something sneaky about her. Ben Whishaw and John C. Reilly exude a certain naïveté about them as two men who ‘befriend’ and both want to avoid transforming no matter what. The two guys work well together and are collaborators who understand the ideas at play here. I liked their scenes with Farrell, where the shared awkwardness is purposefully palpable. Out the supporting cast, Olivia Colman is superb at portraying the cold, blunt and seemingly unfeeling Hotel Manager. Colman is a big standout in her screen time for her timing and delivery.  Jessica Barden, Ashley Jensen and Angeliki Papoulia all embrace the outlandish and creepiness of the piece, with only Michael Smiley being left in the cold with not much to do.

An absurdist story of conformity, dating and dystopia, The Lobster will not appeal to everyone out there. But for those who know of Yorgos Lanthimos and his trademark approach, you are in for a dark but strangely amusing treat that will linger in the mind.