Carry On Nurse

Tags

1950's, Bill Owen, Carry On Movies, Carry On Nurse, Charles Hawtrey, Comedy, Gerald Thomas, Hattie Jacques, Joan Hickson, Joan Sims, Kenneth Connor, Kenneth Williams, Leslie Phillips, Rosalind Knight, Shirley Eaton, Terence Longdon, Wilfrid Hyde-White

Film Title

Carry On Nurse

Director

Gerald Thomas

Starring

• Kenneth Connor as Bernie Bishop
• Kenneth Williams as Oliver Reckitt
• Hattie Jacques as Matron
• Charles Hawtrey as Humphrey Hinton
• Terence Longdon as Ted York
• Shirley Eaton as Nurse Denton
• Bill Owen as Percy Hickson
• Joan Sims as Nurse Dawson
• Leslie Phillips as Jack Bell
• Joan Hickson as Sister
• Wilfrid Hyde-White as The Colonel
• Rosalind Knight as Student Nurse Nightingale

After the success of Carry On Sergeant, producer Peter Rogers and director Gerald Thomas decided to do a second film( which in turn would lead to countless more movies in the series). They knew they were on to something and delivered comedy gems. Carry On Nurse is a riotously funny spoof of the health service, with more innuendo that would later become prominent and game cast having a blast.

The setting is Haven Hospital, specifically a men’s word that is anything but a haven for those working or recuperating. The ward is watched over by the overbearing and fearsome Matron, who has the workers scared witless of her and always attempting to not mess up. The trouble is the ward is seemingly a hotbed for every sort of accident or calamity there is, both of the amorous and amusing variety. The motley crew of workers and patients have enough antics to last a lifetime. In the ward there is Bernie Bishop, a boxer who is in after breaking his hand in a bout. The intellectual and always reading Oliver Reckitt complains constantly about the conditions of the place, using his silver tongue to annoy Matron. Bespectacled Humphrey Hinton spends his time laughing hysterically or re-enacting musical orchestra from his perms angle fixed radio. Chain-smoking cynic Percy Hickson is laid up with a broken leg. Recently arrived newspaper man Ted York, who is being treated for appendicitis and who becomes attracted to the gorgeous Nurse Denton. In a private room and constantly a nuisance is the Colonel, an elderly chap who bets on just about anything and causes grief to the nurses whenever he can. Scatter brained Nurse Dawson is repeatedly getting herself into bother, which always seems to occur when Matron is on one of her dreaded rounds. Add to this the cad that is Jack Bell, who wants his operation sorted so he can pursue a romantic rendezvous, and you’re in for a whole heap of trouble.

Gerald Thomas contributes his usual unobtrusive direction that is nothing overtly or stylistically challenging, but has the right tone and tongue in cheek wink to the audience that is delightful. Innuendo and double entendres enter the fray here and became a staple( one of the best and most memorable being Leslie Phillips uttering the words Ding Dong); here it’s a bit more innocent yet still very suggestive and great entertainment. There’s some amazing sight gags, slapstick elements and just plain old fun to be had as the patients run amok. Carry On Nurse is a finely done medical caper of people wreaking havoc in a place that is usually depicted as somewhat tranquil, with this send up showing hospital can indeed be unlikely fun. You can really see the elements that would later define the Carry On series coming together in Nurse, with amorous and saucy hints thrown into the mix. If you want a lark, just watching some of the sketches here, that will tickle the funny bone. Look no further than the laughing gas scene of the drunk patients, haphazardly and giggling as they attempt to remove bunion.  that is hysterically executed and a hoot thanks to the outrageous concept and levity of it all. The film has an episodic feel but that’s exactly what its supposed to be. You don’t go into a Carry On for a cohesive plot or to be tested, you go in for the jolly and cheeky ride it provides you with. The jaunty score matches the naughty and laugh-inducing antics of the characters in a madcap way.

Many of the cast from Sergeant make a return, along with some new additions. Kenneth Connor has a scrappy and gleeful kind of attitude that able suits his boxer character. Kenneth Williams is a hoot, particularly in the facial expression and witty line reading department. You simply won’t be able to contain laughing whenever he questions Matron or reacts to yet another jocular incident. Hattie Jacques is suitably formidable and dryly humorous as the Matron, who takes a dim view of how the hospital is being run and isn’t afraid to say it. The role of Matron or authority figure would become a familiar one for Jacques and one she plays wonderfully. Charles Hawtrey is a riot once more, that s time as a patient whose life revolved around listening to the radio and enacting what he hears. Plus, add his outrageous laugh into the mix and he’s once again a scene stealer. The main romantic sub-plot of Nurse comes from Terence Longdon and Shirley Eaton as patient and nurse. It’s not the finest part of the movie, but is engaging enough in the long run of things thanks to the attractive couple. Curmudgeonly growling can be found with Bill Owen, whose eye-rolling expressions are a joy to view. We get the first appearance of soon to be regular Joan Sims, whose funny, cheeky and clumsy antics as an accident prone nurse are comically endearing and hilariously acted. Also having a ball is Leslie Phillips; his playboy attitude and comic timing a great addition to the already fit to burst events on screen. Plus, we have him to thank for giving us the memorable Ding Dong catchphrase that would become synonymous with these films. Joan Hickson is straight-laced and by the book as the Sister of the ward, while Wilfrid Hyde-White has an eye-catching role as the troublesome Colonel, keeping the nurses on their toes each and every minute. In a small but plum role, Rosalind Knight is hilarious as an over-eager young nurse who comes onto the night shift and takes the job ridiculously serious.

With Carry On Nurse introducing more naughty humour and slapstick antics, the formula for the franchise comes into focus. And it’s a rollicking good time to be had by all.

Carry On Sergeant

Tags

1950's, Bill Owen, Bob Monkhouse, Carry On Movies, Carry On Sergeant, Charles Hawtrey, Comedy, Dora Bryan, Eric Barker, Gerald Thomas, Hattie Jacques, Kenneth Connor, Kenneth Williams, Shirley Eaton, Terence Longdon, William Hartnell

Film Title

Carry On Sergeant

Director

Gerald Thomas

Starring

• William Hartnell as Sergeant Grimshaw
• Bob Monkhouse as Charlie Sage
• Kenneth Connor as Horace Strong
• Kenneth Williams as James Bailey
• Charles Hawtrey as Peter Golightly
• Bill Owen as Corporal Copping
• Eric Barker as Captain Potts
• Terence Longdon as Miles Heywood
• Hattie Jacques as Captain Clark
• Shirley Eaton as Mary Sage
• Dora Bryan as Nora

The first in what would become a long-running franchise and British institution, Carry on Sergeant gives us a good starting point that introduces many of the key players in the series to us and has laughs a plenty. It’s not quite the bawdy movie that many if the later films were, but Sergeant provides you with an amusing story that delights in its own funny way. Let the Carry On Bonanza begin!

Sergeant Grimshaw is retiring from the army, but wants to win in the platoon championship before he hangs his boots up. He bets another officer £50 that he can win platoon of the year and sign off his career with a good swan song. His hopes quickly dip when he sees who is in his squad for National Service, many of whom take inept go a new level. There is handsome Charlie Sage, who is much aggrieved to be called up to service on his wedding day; weedy hypochondriac Horace Strong; smarmy and educated James Bailey; clumsy and effeminate Peter Golightly and upper class dandy Miles Heywood. With his second in command helping him, Grimshaw has his work cut out for him. Many pratfalls and mistakes befall them as Grimshaw tries to sign off with dignity and win that bet. He fears that this group will be a disaster and almost resigns himself to the fact that they won’t win. It’s here that the seemingly hopeless recruits decide to buck up and give it their best shot, out of a growing respect for the Sergeant. Meanwhile, Charlie’s wife Mary sneaks into the barracks with hopes of having a proper wedding night, and Horace is pursued by a volunteer named Nora.

Gerald Thomas, who would direct every one of the Carry On movies, has the right, light touch for the humour and performances to take off. He never calls attention to technical areas or showy camerawork, his focus is on the comedy which is delivered splendidly. Sergeant lacks the naughty edge and staples of latter films of the franchise, but it still gives you plenty of laughs with some hilarious set pieces. Among them are the accidental spraying of officers with fire extinguishers, repeated attempts to improve the group that often go pear-shaped and especially various imagined maladies and paranoia of Horace. The send up of the army and National Service is well done, managing to lampoon a respected organisation without demeaning it or completely tearing it to shreds. All in all, it’s a perfectly pleasant and harmless way to spend an hour and a bit. Good humour, great antics of the slapstick and farcical variety and the guarantee to leave you smiling is what you get. What may surprise many however is the fact that the humour is largely innocent here. Sure there is the odd instance of innuendo, but it’s mainly the antics of the inept squad that get the most laughs. And the ending of Sergeant does feature a bit of pathos, which is often a rarity in these films but fits here excellently. The lack of bawdiness is noticeable, but the humour is pretty fun throughout and will raise quite a lot of smiles and laughs from you( unless you have a heart of gold that is.) Some of it is obviously going to be dated given that it’s an old movie, but it’s hard to fault humour and laughs from an amiable cast. A lively score is another welcome addition to the speedy pace of the film and fits the calamities that transpire.

Of course to get laughs and humour to register, you need a good cast. Carry On Sergeant has just that, with various members later becoming staples in the long series. Heading proceedings is a dignified William Hartnell, whose interpretation of the retiring eponymous sergeant is the right blend of firmness and hidden caring. He’s a strict leader, yet not a horrible person despite his misgivings of the team. Bob Monkhouse is pretty good as the head in the clouds recruit, whose primary objective is to have a special night as man and wife with his new bride. Kenneth Connor stands out the most with a hilarious performance as the paranoid hypochondriac and ironically named Horace Strong. Constantly fretting about literally everything he encounters, he elicits pity, sympathy and laughs. Just watching him get worried at the sight of physical practice is enough to have you rolling on the floor. Two other longstanding stalwarts of the franchise are successful as the bumbling and overly gentle Golightly and the scholarly, know it all Bailey. The two men are Charles Hawtrey and Kenneth Williams, who steal many scenes they are in. Bill Owen and Eric Barker shine as officers of different ranks, but both who are concerned and more than a little amused by the spectacle before them. Terence Longdon doesn’t have the biggest or most interesting part, but still has fun playing the ladies man. Hattie Jacques is suitably no-nonsense as the army doctor, who grows impatient with Horace’s many visits to her. Shirley Eaton is the glamour and beauty of the picture, while we have Dora Bryan playing a daffy, wide-eyed woman who falls for the unlikely Horace.

The debut Carry on movie, Sergeant doesn’t have the some of same formula as the rest, mainly in terms of naughty shenanigans. But that shouldn’t detract as the cast( of whom many would return in future entries) and the easy humour of the piece make Carry on Sergeant. And if anything, we have the success of this film to thank for the creation of a much beloved film series.

The Fabulous Baker Boys

Tags

1980's, Beau Bridges, Comedy, Drama, Jeff Bridges, Michelle Pfeiffer, Steve Kloves, The Fabulous Baker Boys

Film Title

The Fabulous Baker Boys

Director

Steve Kloves

Starring

• Michelle Pfeiffer as Susie Diamond
• Jeff Bridges as Jack Baker
• Beau Bridges as Frank Baker

An enchanting comedy-drama of music, family and dreams, The Fabulous Baker Boys provides laughs and pathos with a fine trio of central performances by Jeff and Beau Bridges, and especially the lovely Michelle Pfeiffer.

Jack and Frank Baker are the eponymous, travelling musical duo; piano playing brothers who perform regularly and are opposites in almost every way. While older brother Frank is the responsible sibling who is always organised, Jack is a sometimes sullen man who has grown tired of their long running act despite being the more talented one. With business slipping and them having to perform in less than glamorous lounges as a second-rate act, both are feeling the strain of what their careers have become. Frank enjoys his music and does it to support his family, while Jacks feels the emptiness of it all. They have the idea to audition a female singer, to breathe some life into their act and hopefully drum up some business. The first few ladies they get are all pretty bad and it looks like the guys will just have to continue their act just the way it is. That is until former escort Susie Diamond walks in to audition, even though she’s an hour age a half late. Gorgeous, witty and with a take no bull honesty, she wins Jack and Frank over when she starts to sing. Now feeling a bit more rejuvenated, the group begins experiencing success with Susie as the star attraction. But with the success comes doubt and frustration, as Frank becomes concerned that Jack is romantically pursuing Susie. He worries that this will jeopardize all of them if everything gets too personal, and sure enough it does. This throws a spanner in the works and as both of them having to deal with dormant feelings of being failures and still trying to go on. While on the road touring, the dynamics of the brothers change as both, along with Susie, have to contend with disillusionment and the wanting for something more in their lives.

Steve Kloves both writes and directs this beguiling and elegant piece of film. And considering it was the first movie he directed, his inexperience doesn’t show. In fact, the easy confidence and attention to character are spectacularly done, displaying his gift for letting his actors do their thing and not being overly flashy with overt style. Kloves sprinkles an Old Hollywood feeling to the work, that’s mixed with a contemporary sensibility and nuanced depth. Comedic moments abound, with the crackling screenplay firing zingers throughout, while balancing the character’s shaky relationships and desires. Laughs and sadness seem to go hand in hand in The Fabulous Baker Boys, making it a whole experience. The occasional meandering moment can be ignored because of how well-defined and invested the characters are, plus the fact that we do like watching their wishes and dashed dreams unfold. As music is a big part of it, The Fabulous Baker Boys doesn’t disappoint on that score.  And what beautiful music it is! Silky smooth jazz grooves and slinky torch songs, lend both a sexiness and melancholy to the overall picture. And speaking of sexiness, I can’t review The Fabulous Baker Boys and not mention it’s most famous scene. In it, Susie, clad in a figure hugging, red dress, lounges across the piano and sings ‘Makin Whoopee’. Backed by the impressively warm and sultry cinematography that hovers over everything, it’s a sizzling high point of a fantastic movie.

While it is The Fabulous Baker Boys who have the title, the film really is a show for the talents of Michelle Pfeiffer. As the effervescent Susie, she displays a whole multitude of sides and angles that are natural and convincing( plus showcasing some gorgeous vocals). She’s tough yet vulnerable, hardened but dreamy and both nervous and seductive. Pfeiffer completely owns the role with a deft assurance. It’s a plum role for any actress, but Pfeiffer makes it so you can’t imagine anyone else playing it except her. For my money, this is one of the finest hour’s from one of my favourite actresses. Ably complimenting Pfeiffer’s excellence are the eponymous duo, envisioned by real life siblings Jeff and Beau Bridges. The chalk and cheese nature of the characters is nicely observed through the work of them both; Jeff’s charm and quietly seething demeanor as Jack counteracted by the more savvy but fussy personality displayed by Beau as Frank . I really got into their bond that they shared, which while shaky and volatile, still had a depth of heart ever-present. Being real life brothers obviously lends itself excellently to the often volatile relationship of the duo. The chemistry is natural and when the deeper feelings emerge, it’s intriguing to ponder whether it is just acting or something much more personal. Whatever the view, the Bridges Brothers bounce off one another effortlessly, while highlighting a certain weariness and quiet rivalry.

A slice of life drama and comedy, that has sparkling dialogue and an undercurrent of wistfulness, The Fabulous Baker Boys is sublime entertainment, well performed and nicely crafted.

Waiting to Exhale

Tags

1990's, Angela Bassett, Comedy, Dennis Haysbert, Drama, Forest Whitaker, Gregory Hines, Lela Rochon, Loretta Devine, Michael Beach, Waiting to Exhale, Wesley Snipes, Whitney Houston

Film Title

Waiting to Exhale

Director

Forest Whitaker

Starring

• Whitney Houston as Savannah Jackson
• Angela Bassett as Bernadine Harris
• Lela Rochon as Robin Stokes
• Loretta Devine as Gloria Matthews
• Gregory Hines as Marvin
• Dennis Haysbert as Kenneth
• Michael Beach as John Harris
• Wesley Snipes as James

A glossy comedy drama concerning the love lives and friendships of four African-American women, Waiting to Exhale definitely has a lot of things going for it on the entertainment factor. But while it has some things to recommend, primarily a hot soundtrack and largely impressive casting, Waiting to Exhale just felt overall too slight of a film to make an impact on me.

A quartet of African-American women( Savannah, Bernadine, Robin and Gloria) all experience differences in romantic relationships and love . All living in Phoenix, their relationships with men are never easy and they often meet to discuss their various problems with the opposite sex over vino and food. Savannah is a television producer who has been having a relationship with Kenneth, a married man who keeps promising to leave his wife. Yet she is growing restless with his lying and contemplates taking charge once and for all. Bernadine thought she had a great marriage and lifestyle. That is until slimy John leaves her after eleven years for his secretary and she is crestfallen. She must deal with how best to move forward and reclaim her life as a single woman. The trouble is she never expected any of this to happen, so must go back to square one again and see what she can do. Robin is a flighty girl still hung up on a no good guy, but having casual flings with other guys while she waits for him to finally be in a proper relationship with her. And Gloria, who discovers that her ex-husband is gay, desperately craves company as her son is soon leaving home. Luckily, a new neighbour, handyman Marvin , moves in and she takes a shine to him. Throughout it all, the four women have their friendship to fall back on and rely on in confusing times concerning the heart.

Forest Whitaker adds touches of class as director and knows how to create nice imagery. I do believe he’s trying his best to bring these stories to life and he makes them at least watchable. The script and other areas are where Waiting to Exhale loses me. It just comes off as rather a few, slight vignettes than as a cohesive story, which is something of a detriment to Waiting to Exhale. I mean, I don’t mind me some episodic stories but usually its when they flow that I go for them, which sadly wasn’t the main case here. I did like the interactions between the women(which have humour to a lot of them and a nice dynamic), but I wish there were more of them to flesh things out a bit more. It was mainly Bernadine’s story that moved me the most; her story felt the most compelling as she grew stronger and shared a tentative attraction with a man going through crisis( a brief but memorable turn from Wesley Snipes). The other stories didn’t quite have the pulling power of Bernadine’s, even though Gloria’s pining for her neighbour was nicely observed. I can see that Waiting to Exhale provides escapism for many, I just can’t quite place my finger on why it felt somewhat flat for me. It started pretty well, but for me, it grew rather tedious and drawn out if we’re talking about the overall picture. I think it is a movie that does have some satisfaction and fun, but one that doesn’t really burn into the memory that well because of a lack of depth. The soundtrack however, with soul grooves, courtesy of Babyface, is really smooth and easy to listen to. It was a redeeming feature in a flawed movie.

A saving grace of this film is the main cast, especially Angela Bassett and Loretta Devine. Whitney Houston, looking gorgeous and stylish, gives Savannah a wry humour and quiet depth that is very beneficial and lovely. Angela Bassett is the main standout as the wounded but clearly not beaten Bernadine. As broken down as Bernadine is, the innate toughness Bassett brings to the screen always came off loud and clear that would be a fighter. I mean watching her torch her lying spouse’s fancy clothes and car was pretty satisfying viewing. Her blend of anger and vulnerability sold a lot of the emotion the film was going for and did it successfully. On the other end of the spectrum is Lela Rochon, who does a good enough job, but feels more than a bit stretched as the mixed up Robin. Don’t get me wrong, she’s quite appealing in parts, yet lacks the depth that the role later calls for and comes off as too weak in terms of acting chops. Loretta Devine really has a ball as the caring but hilarious Gloria, who represents a certain voice of calm amid all the entanglements. I loved her vivacious energy and timing, it was pretty spot on. Gregory Hines is a nice presence as the only really good guy(along with Wesley Snipes) in the picture. The rest, mainly Dennis Haysbert and Michael Beach, excel at playing the weasels who do nothing but promise sweet nothing to the ladies.

Undoubtedly entertaining as Waiting to Exhale is, I just found my interest levels lagging a lot. I will say that it all was shot nicely, had a soulful soundtrack and nice work from the cast(mainly Angela Bassett and Loretta Devine), but there was something missing that stopped it from being special.

Priceless

Tags

2000's, Audrey Tautou, Comedy, Foreign Language Film, Gad Elmaleh, Marie-Christine Adam, Pierre Salvadori, Priceless, Romantic Comedy

Film Title

Priceless

Director

Pierre Salvadori

Starring

• Audrey Tautou as Irène
• Gad Elmaleh as Jean
• Marie-Christine Adam as Madeleine

A very satisfying romantic comedy about wealth and gold digging, Priceless is an amusing confection of sprightly energy and winning charm. Just like the main character, Priceless is deliciously naughty and amoral, but always immensely enjoyable.

The captivating Irène enjoys the high life, especially when a man of wealth is paying for it. With her abundance of charms and feminine wiles, she’s armed for digging for gold wherever she can find it. Frequenting the French Riviera with her latest conquest who is boring her, she encounters put upon bartender Jean one evening. The amusing thing is Irène assumes he is a rich man of the world by his appearance. Not telling her the truth, Jean and her share drinks and laughs. Later, things are taken to the bedroom. In the morning, Irène has left and Jean is left thinking of her. A year later, Irène returns to the hotel with her sugar daddy in tow, where she promptly seduces Jean once more. Only this time, Jean gets busted and the truth of his status is revealed. This coincides with Irène’s latest squeeze leaving her with nothing money wise and jilting her quickly. A shocked Irène high tails it to Nice, not realising how smitten Jean is with her. Instead of just forgetting her, Jean finds her and attempts to woo her. takes full advantage of this as her expensive tastes nearly bankrupt the far from affluent Jean. Panicking when his finances are tight, Jean is saved by wealthy widow Madeleine. She has been looking for a new toy boy and Jean fits that bill. Surprisingly, Jean finds he has a knack for gold digging too, with the main objective being to romance Irène in the end . Irène is quite impressed by this show of initiative and offers help in the business she is well acquainted with. Transformed from hapless bar tender to jet set smooth talker, he even begins rivaling her at the game of money. Seeing how successful he has got , Irène comes to see Jean in a new light, which puts her plans for finding another rich man in jeopardy as her personal feelings enter the picture.

Pierre Salvadori is in the director’s seat for this frothy and charming comedy. He knows the way to keep events bright and breezy, before colouring them with a bit more depth than most romantic comedies strive to reach for. His eye for humour and timing, most notably in Jean’s attempts to be seen as a prospect to the girl he loves is what really gets the most laughs. The scenario of the film is hardly what one would call groundbreaking, but enjoyment is the name of the game and Priceless rises to the occasion admirably. Depending on your tolerance level, you’ll find Priceless irresistible or too arch. For me, I fell into the former camp by miles. It’s the old-fashioned vibe and nods to romantic comedies of yesteryear that Priceless excels at emulating, and giving it a bit more than the average modern Hollywood rom coms that we are witness too. What you get here is riotous fun that also stops to consider why Irène would go on the path of a gold digger in the first place. A nice depth arises from that strand of story that definitely caught my attention.  As a movie that deals with the rich and well-heeled, Priceless looks gorgeous, supplying us with picturesque and chic views of the French Riviera. Trust me, you may be considering holiday plans after watching Priceless. The extravagance on show and just the overall seductive view of the rich life is swoon worthy. A sparkling and amusingly jaunty score accompanies the film with effusive energy and playful rhythm.

The talented Audrey Tautou supplies slyness, allure and even a bit of desperation as the material girl everything revolves around. Irène is someone who clearly has a plan to snare someone rich and enjoy the high life at the same time. Tautou makes Irène a minx but not one that is completely unlikable. Sure she goes after men’s wallets more than their hearts and practically obliterates most of Jean’s income in the beginning, but with Audrey Tautou the beguiling persona and glimpses of someone not wanting to fall by the wayside are felt by the audience. Gad Elmaleh is blessed with a sad-eyed expression and certain lugubrious charm to make the part of Jean work. Jean is something of an unlikely gigolo, which is a strength Gad Elmaleh and his lanky appear de play to masterfully. Elmaleh like he’s having fun as the love struck man pursuing the woman who captured his heart and trying to play her at her own game. The enjoyment factor from both him and Tautou transfers to the audience, paying great dividends. Marie-Christine Adam appears as the glamorous widow attracted to Jean, and though the role is more than a tad underwritten, she possesses the elegance and worldly appeal of a successful older woman.

It’s not the most sparkling brand new formula for a romantic comedy, yet the very nature of romantic comedy is to recycle, preferably with style. Which is what Priceless does, with witty aplomb and hilarious high jinks between two potential lovers on the make. With Audrey Tautou and Gad Elmaleh making a fun couple, you can’t really ask for more enjoyment because it’s a frothy and sweet movie that will make you laugh and smile.

 

The Devil Wears Prada

Tags

2000's, Adrian Grenier, Anne Hathaway, Comedy, David Frankel, Drama, Emily Blunt, Meryl Streep, Simon Baker, Stanley Tucci, The Devil Wears Prada

Film Title

The Devil Wears Prada

Director

David Frankel

Starring

• Meryl Streep as Miranda Priestly
• Anne Hathaway as Andy Sachs
• Emily Blunt as Emily Charlton
• Stanley Tucci as Nigel
• Adrian Grenier as Nate
• Simon Baker as Christian Thompson

An amusing comedy drama about a young woman’s journey in the world of fashion under the boss from hell, The Devil Wears Prada gets laughs and some surprising dramatic weight. As formulaic as some of it is, it is still a very funny satire on the fashion industry, benefiting from a talented cast.

Andy Sachs is a fresh-faced college graduate who wants to be a journalist and is just out of university. An opportunity comes knocking in a strange way, after not having much luck in finding work. She is in turn recommended a job working at  Runway, a New York fashion magazine headed by the notorious and commanding editor in chief Miranda Priestly. She is to be the junior assistant to her, which is a job so many people would give their lives for. Although she has no interest in fashion or the whole scene that she views as shallow, she gets the job unexpectedly. Yet Andy is totally unprepared for what she’ll have to deal with while being assistant to the very high-powered Miranda. What she finds is that Miranda is no walk in the park, but an extremely demanding and at times vicious boss. Having to complete the various, seemingly impossible tasks that Miranda sets her proves to be a severe challenge to someone as wide-eyed as Andy. Andy doesn’t fit in with anyone particularly, not least the snippy senior assistant Emily. Yet with the help of art director Nigel( which includes a glamorous makeover) and adopting of a different attitude towards the industry, Andy starts to succeed and surprisingly get ahead at work. She believes that lasting a year working under the dominating Miranda will be good for references and open doors to her dream. Yet as Andy gets further sucked into the world that she initially disdained, she is forced to confront the fact that her integrity is slipping and that she is rapidly changing into something she never thought she would. Her love life with chef boyfriend Nate begins to sour and she begins to alienate herself from her closest friends, as a result of being at Miranda’s beck and call. But is survival working for Miranda worth sacrificing all for?

David Frankel has a stylish approach to the material, imbued with the right amount of humour and character. I wouldn’t say his direction in The Devil Wears Prada is anything awe-inspiring, but it gets the job done efficiently and with care. Interest does lag within a few scenes that go on for too long( and the main men in Andy’s life don’t particularly give much to the plot of the film). The catty one liners and frequently hilarious events make up for that however, getting your interest as we glimpse a behind the scenes look at a glamorous yet dog eat dog world. Seriously some of the dialogue is priceless in how it skewers the fashion industry and culture, while allowing the relatable but difficult journey for Andy that threatens to overtake her, to feature added depth to the largely funny flick. The look at how easily one can lose themselves in something and feel they have no choice but to oblige is rendered well; owing to the way the script gives measured nuance and surprising insight. Sometimes the film only scratches the surface of what wants to get to in the odd slip, but the satirical edge and stylish glitz are more than sufficient at keeping things in a way that feels fresh for us to enjoy. And like any movie dealing with clothing and image, The Devil Wears Prada is a super stylish and glossy film. From montages to bright colours, it has magazine ready finish from the get go. And while some will say it is just a chick flick, The Devil Wears Prada can equally be enjoyed by men. It’s an all round fun time to be had here in a high glamour world that’s as funny as it is stinging. I mean the while boss from hell plot is a definitely amusing one that I’m sure many people can recall similar situations in their own lives, with less outrageousness I’m sure but you know what I mean. A fashionable soundtrack briskly keeps the film on its course with some great songs to groove to.

Meryl Streep completely steals the show as the demanding and commanding Miranda. Possessing a glacial demeanor and a certain regal poise, she creates a character who may be a tyrannical, but is still quite unexpectedly human despite her frostiness. Miranda both inspires fear and awe within the film and the audience, with Meryl Streep steering her away from just being a wicked caricature. What we get instead of a one-dimensional part is one that is frequently ruthless yet not above revealing a hidden vulnerability, in a nuanced way that Streep effortlessly portrays. Miranda doesn’t need to raise her voice to make a point; a simple purse of the lips, look up and down or a cutting, deadpan remark is enough to reduce anyone to a pile of quivering nerves. A scary, fascinating, darkly funny and fabulous character is brought to life with measured shading and conviction by the always excellent Meryl Streep. Anne Hathaway delightfully portrays the inexperience and uncertainty of Andy, tempered with an intelligence and feeling of doubt over what she can achieve. Hathaway has an inborn sensitivity and vulnerability that I’ve noticed in many of her performances, that is used excellently to make Andy a conflicted yet relatable heroine the audience wants to help. I mean how can you not have sympathy for this girl, going through the motions and figuring out just what she wants to do? Her sheer awkwardness and coltish appearance is rendered nicely by Hathaway, who refuses to make the character a brainless girl.  Emily Blunt gets a whole of laughs in her role of minion to Miranda, whose neurotic and desperation to please provide hysterical desperation and scintillating, bitchy sassiness. Splendid and side-splitting support comes from Stanley Tucci as the confidante, who instructs Andy in how best to approach her job and how Miranda is not above rewarding loyalty, in her own roundabout way of course. Tucci though is the only guy in the film who is actually given something good to do. Adrian Grenier and Simon Baker are left stumbling and with little in the way of material to work with.

So for all the contrivances in the film and how it can seem predictable, The Devil Wears Prada boasts a high entertaining factor, finding humour and pathos from a cast headed by an imperious Meryl Streep and how the whole fashion world is a place of survival. A biting yet somehow sweet engaging and humorous film is what The Devil Wears Prada emerges is, which brings out big enjoyable laughs for the viewer.

Charlie’s Angels: Full Throttle

Tags

2000's, Action, Bernie Mac, Cameron Diaz, Charlie's Angels: Full Throttle, Comedy, Crispin Glover, Demi Moore, Drew Barrymore, John Cleese, Justin Theroux, Lucy Liu, Luke Wilson, Matt LeBlanc, McG

Film Title

Charlie’s Angels: Full Throttle

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bernie Mac as Bosley
• Demi Moore as Madison Lee
• Justin Theroux as Seamus O’Grady
• Crispin Glover as The Thin Man
• John Cleese as Mr. Munday
• Matt LeBlanc as Jason
• Luke Wilson as Pete

More sassy attitude, kicking ass and sex appeal adorns Full Throttle, the sequel to the entertaining first film. Like its predecessor, it’s completely brainless and illogical but so watchable due to that very fact, it’s difficult to not enjoy it.

The Angels( Natalie, Dylan and Alex) return to fight crime and go undercover to thwart dastardly plans. We pick up with the girls as they rescue a US Marshall from captivity in Mongolia. Returning to America, the girls are informed of what their latest mission will entail. This time the unseen Charlie sends them to recover a pair of titanium rings. Encoded in these rings are the names and real identities of everyone in the Witness Protection Program. It appears that someone wants to sell the rings to the highest bidder; which just so happens to be any of the major crime outfits in the world. Gearing up for action with an array of costumes and skills, the girls encounter former Angel Madison Lee, who has clearly turned her back on the side of good and definitely has something to do with the plot. Added to the mix is Irish mobster Seamus O’Grady, who happens to be Dylan’s former boyfriend who she put away in prison years ago before changing her identity. This revelation hits Dylan hard as she fought so hard to escape her past, only for it to now resurface. From fast car chases to martial arts fighting, The Angels are back doing what they do best; stopping bad and shaking things up.

McG is back making things bigger and employing his music video skills for the montage heavy and frankly ridiculous movie. Once again, it’s a movie that doesn’t take itself seriously and on more than one occasion, rips itself off. The plot is essentially a riff on the first movie yet is a little tighter( I say little because it’s still pretty all over the show but still highly fun). The plot is the least of anyone’s concerns when the action and innuendo filled lines hit override. That’s where the fun begins as the gorgeous girls go from a dirt biking race to performing in strip club, all in the name of stopping crime. Various sub-plots of their love lives are superfluous and don’t go anywhere, the colourful fights and array of disguises is where the film is at. Like the title says, Full Throttle is what it gives in terms of silliness and amusing sequences that are pure ludicrous and candy coloured from head to toe. The film can best described as the equivalent of a sugar rush. You know you shouldn’t enjoy it, but the sweetness is difficult to resist. And even though it is a major rehash of the first film, is anyone actually paying that close attention? The soundtrack is lively and pumping, granted there is nary a second music isn’t playing.

Cameron Diaz, with her mega watt smile and perky energy, is delightfully goofy and animated in the best possible way. Drew Barrymore stands out the most as tough chick Dylan, who has to deal with the ghosts of the past. The film is hardly deep at all but the little bits of drama that reveal more of her( whenever the chance is given) are played remarkably well by Barrymore. Lucy Liu provides many laughs and feistiness as the brainbox of the troika, who can really deliver Once again, the three share a good rapport and have sparkling levels of energy. Some actually effective laughs come courtesy of Bernie Mac playing Bosley; his loud and frequently hysterical outbursts are just what the doctor ordered in this fizzy cocktail of a movie. Demi Moore, looking gorgeous and acting diva like, has fun as the vampy former Angel now on the side of evil and taking no prisoners. She seriously has a good time as the villain of the bunch and suits the over the top nature of the film. Justin Theroux, though underused, is pretty menacing as Dylan’s psychopathic ex who wants revenge on her for turning him in. Crispin Glover returns as the inherently creepy Thin Man, unfortunately he is ill-served by the film that doesn’t make the most of his unusual appearance and mannerisms. In support, John Cleese gets a few good moments Alex’s oblivious father. Once again, Matt LeBlanc and Luke Wilson are not really necessary or well used in the film and their parts could have easily been trimmed.

 

Virtually a variation on the first film with more explosions and killer stunts thrown in, Charlie’s Angels: Full Throttle is guilty pleasure viewing of the highest echelon. You wouldn’t tell a friend you like this movie, but you’d secretly bask in its sheer dumbness when you needed a popcorn movie.

Charlie’s Angels

Tags

2000's, Action, Bill Murray, Cameron Diaz, Charlie's Angels, Comedy, Crispin Glover, Drew Barrymore, Kelly Lynch, Lucy Liu, Luke Wilson, Matt LeBlanc, McG, Sam Rockwell, Tim Curry

Film Title

Charlie’s Angels

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bill Murray as Bosley
• Sam Rockwell as Eric Knox
• Kelly Lynch as Vivian Wood
• Tim Curry as Roger Corwin
• Crispin Glover as The Thin Man
• Matt LeBlanc as Jason
• Luke Wilson as Pete

Based on the hit 70’s show of the same name, Charlie’s Angels is not the kind of movie you go to watch for deep, introspective lessons. It’s all about the action, silliness and sexiness of which it provides a slick and entertaining package.

The Angels of the title are goofy Natalie, sarcastic Dylan and knowledgeable Alex; three beautiful and strong women who work as private investigators for the unseen Charlie. He communicates with them via voice messages and agency handler Bosley. Getting out of scrapes and risking life and limb is what they’re good at, as well as doing it with some serious style and kick ass moves. Their latest case involves rescuing electronics millionaire Eric Knox, then finding his valuable software. The software is state of the art voice recognition that uses phones as its main communications base. If it were to fall into the wrong hands, it could be used to end basic privacy through the usage of satellites and put tens of thousands in mortal danger. The main suspect appears to be a rival businessman by the name of Roger Corwin, whose known to be very ruthless when it comes to getting his hands on the much moneymaking thing. Cue much action, chases and sexy outfits and it’s another day at the races for the Angels. But something more sinister may in fact be right under their noses and ready to strike.

From the get go, director McG, who used to be a prominent stylist of music videos, lets us know that this film is one to just sit back and bask in with his brash use of colour and tongue in cheek humour. He isn’t trying to be intellectual in the slightest and that very approach makes Charlie’s Angels a big guilty pleasure. It’s a pastiche and ode to glamour of the past( the original theme tune and voice of Charlie remains the same) and modern technology that bathes in its own craziness. I mean how can any of the film be taken seriously when you have these ladies defying gravity with their karate moves and changing clothing at lightning speed, in between disposing of bad guys? And yet, that is where the fun lies, in the sheer implausibility and fantasy of it all. None of this is rooted in the real world and doesn’t try to be; it just wants you to have a blast on the action score and comedy and not aspire for anything else. With colourful splashes of quick editing and slow motion for sensual purposes, the film whizzes along at such a rapid rate that you don’t have to think about a single thing, just being thrilled and excited is the response that will most likely garner. Watching the sexy trio move from one outrageous situation to the next is fun enough in itself as they kick serious ass and showcase bountiful sex appeal. Laughs and naughtiness go hand in hand( watch as Alex dresses up dominatrix style to infiltrate a corporate facility and causes every male worker to be her slave.) High energy and a prominent soundtrack ensure that Charlie’s Angels is a kinetic ride that doesn’t require brain power, yet wants you to just surrender to its frequently goofy content.

The gorgeous trio of Cameron Diaz, Drew Barrymore and Lucy Liu contribute significant fun and sexy prowess to match. It helps that they look like they’re having a really fun time playing the glamorous crime fighters, who get to raid the dress up box frequently and dispatch sassy one liners. That enthusiasm( from Diaz’s ditsy but sometimes very resourceful Natalie, Barrymore’s sassy, attitude heavy Dylan and Liu’s sophisticated and poised brainiac Alex ) is the key to the enjoyment of Charlie’s Angels as they sell the silliness all the way. Bill Murray is hilarious as the occasionally bumbling and sardonic Bosley, with his knack for humour in high supply and an utter delight to watch. Sam Rockwell is pretty eye-catching as the man supposedly in trouble, who might be quite different from the geeky persona he projects. Kelly Lynch is much the same as his partner who just know is dodgy from the moment she appears. Tim Curry does what he can with his ludicrous material and is quite amusing, while Crispin Glover is ideally unusual and freaky as an assassin known as The Thin Man. Matt LeBlanc and Luke Wilson on the other hand, come off as rather superfluous when playing two unsuspecting boyfriends of two of the Angels. Considering the cheesy script, the cast is mostly competent, particularly the sexy Angels.

It’s scattershot at best and virtually devoid of any real plot, but Charlie’s Angels delivers the fun and sassy goods, bolstered by the energy of the three women at the front of it. Defiantly ridiculous and outrageous, it’s best enjoyed as cheesy fodder and sexy fun.

The Big Chill

Tags

1980's, Comedy, Drama, Glenn Close, Jeff Goldblum, JoBeth Williams, Kevin Kline, Lawrence Kasdan, Mary Kay Place, Meg Tilly, The Big Chill, Tom Berenger, William Hurt

Film Title

The Big Chill

Director

Lawrence Kasdan

Starring

• Kevin Kline as Harold Cooper
• Glenn Close as Sarah Cooper
• Jeff Goldblum as Michael
• Tom Berenger as Sam Weber
• William Hurt as Nick
• Mary Kay Place as Meg
• JoBeth Williams as Karen
• Meg Tilly as Chloe

A seriocomic drama about reflection on the past, the difference in generations and loss, The Big Chill is a highly resonant and extremely well written film from Lawrence Kasdan. He is aided by a fine cast that do wonderful work in this look at how times change and we can feel adrift in the world that doesn’t hold the promise it did when you were younger.

A group of former friends from college in the 60’s are reunited unexpectedly years later when one of them, the much talked about and promising Alex, commits suicide. The group is made up of married couple Harold and Sarah Cooper, disillusioned television star Sam Weber, unfulfilled attorney Meg, slightly lecherous journalist Michael, Vietnam Vet and pill-popping Nick and unhappy housewife Karen. They haven’t seen each other since their heady days in college and the funeral of Alex brings them back together under dark circumstances. The wake is held at Harold and Sarah’s vacation house in South Carolina. The main people of the group, who don’t know how to deal with the suicide of Alex, stay over the weekend along with Chloe, the much younger girlfriend of the deceased. During the course of the days, the one time close-knit faction are found to be laying bare their secrets, reminiscing on the past and attempting to fathom why Alex killed himself. The big thing that hovers over them all is that lingering sensation that the best years of their lives have passed them by and their vibrant dreams of youth have gone up in smoke. Various little dramas come to light again, like Meg wanting to desperately have a child as she feels her biological clock is ticking and Karen dealing with her unresolved feelings for Sam. Throughout the time together, thrashing out their differences and opening old wounds, they are left to ponder and work out just what to do with their lives, along with whether they can rectify what eludes them and unearth how much Alex’s death has impacted on them.

Lawrence Kasdan fashions a heartfelt yet perceptive evocation of people dealing with responsibilities and thinking back on how much they changed since college. The script that he wrote, along with Barbara Benedek, invests The Big Chill with a quick wit and revealing nature, that benefits the struggles and issues the group go through. They all feel at sea in the materialistic 80’s, when all they crave is the feeling of life and hope that the 60’s gave them being baby boomers. The plot largely revolves around the group discussing their problems, reminiscing of the good old days, smoking pot and wondering where the time has gone. Some may find that idea more than a little boring, but The Big Chill is the total opposite because of the amount of personal feeling injects do into it. You really get to relate to the characters and what they’re going through, even if they don’t know how best to deal with grief and a sense of something missing. It’s one of those things that is universal for everyone; the knowledge that life is different from how you expected and hasn’t taken the path you wanted. Thankfully as tinged with melancholy as The Big Chill is, there is a balance it strikes with quick humour long the way. The film, like the characters goes between laughs and tears, with an unexpected clarity and wisdom that shines through. Even if some of it feels a tad simplistic, the warmth and depth of the piece are always in evidence. The soundtrack is one of the best parts of the movie, recalling the youth of the characters with Motown hits and 60’s grooves. Music plays a very integral role for all of the group and also the audience, as music holds a special place undoubtedly for all of us with the wistful memories it can evoke. The opening sequence is a masterful example of combining music with telling a story. In it, each of the group receives the news and we catch glimpses of how they react, as the sound of Marvin Gaye’s ‘I Heard it Through the Grapevine’ plays in the background.

The Big Chill boasts a simply star-studded cast that are given a moving and frequently funny script to work with and deliver natural, unaffected performances in the process. This is a beautiful ensemble of acting that allows everyone a chance to shine. Kevin Kline is very good as the amiable joker Harold, who has his own deliberations to deal with along the way. Glenn Close beautifully supplies a nuanced turn as the earth mother and good listener, who attempts to keep everyone and herself together and not fall apart. The typically sardonic personality of Jeff Goldblum covers the seedy journalist character, while Tom Berenger sells the feeling of alienation that fame has brought him over the years. William Hurt is on lugubrious form as an overly cynical and morbid man whose life is like an empty shell and needs some lightness to brighten it. Mary Kay Place has the right amount of humour and pathos to bring Meg’s need for a child to life, complimented by some wily observations. Rounding out the main group of reunited friends is JoBeth Williams. She quietly but noticeably gets across the aching want for some love that her character finds has missed her, and there is a real tenderness to her pining for Sam. Meg Tilly, as the youngest member of the cast and most youthful character, has a boundless and quirky energy of a girl who doesn’t react to death the way you’d think. Her character is mainly a symbol of the exuberance and wistfulness of being young and idealistic, that the group is wrestling with the knowledge that they aren’t anymore. The whole cast works convincingly together, selling the fact that their friendship despite the years remains quite intact and there to be rediscovered over the weekend of rumination.

A nostalgic as well as very honest depiction of bittersweet grappling with all sorts of change and facing up to the different ways that life affects us, The Big Chill still has a large impact of being moving and amusing. This is largely thanks to the splendid direction, script and cast that make the experience really something.

The First Wives Club

Tags

1990's, Bette Midler, Comedy, Dan Hedaya, Diane Keaton, Goldie Hawn, Hugh Wilson, Maggie Smith, Sarah Jessica Parker, Stephen Collins, The First Wives Club, Victor Garber

Film Title

The First Wives Club

Director

Hugh Wilson

Starring

• Goldie Hawn as Elise Elliot
• Bette Midler as Brenda Morelli
• Diane Keaton as Annie MacDuggan
• Sarah Jessica Parker as Shelly
• Maggie Smith as Gunilla Garson Goldberg
• Dan Hedaya as Morty
• Victor Garber as Bill
• Stephen Collins as Aaron

An utterly devilish and fun comedy that follows three women getting back at their menfolk in mischievous ways, The First Wives knows how to be terrific entertainment and a sparkling showcase for Goldie Hawn, Bette Midler and Diane Keaton.

We begin in the late 60’s when four young women; Elise, Brenda, Annie and Cynthia are graduating college and promising to be in touch regularly no matter what. Decades later and the ladies have hardly been in contact with each other, through a variety of reasons despite the fact they all live in New York. Elise is an actress, who at one point had popularity but is trying to be younger as there is more demand for it in Hollywood and has turned to booze. She has also split from her producer husband Bill after he was caught fooling about with a younger actress and is now asking for alimony. Brenda has a young son and is now separated from her husband Morty;who also played away from home with a younger lady, in this case the bimbo social climber Shelley(even though Brenda was the one who helped him set up his business.) Annie is still technically married to louse Aaron though they are trying a temporary separation. It is through Cynthia that everyone is brought together, as she commits suicide following her husband leaving her and marrying someone else. Elise, Brenda and Annie meet at the funeral and spill their own problems to each other. Although both Elise and Brenda feel anguished, Annie thinks she is getting her marriage back on track, due to her ability to see the good and not confront decisions. That however goes out the window when she learns that he is actually leaving her for her therapist. Getting closer again after so many years apart, the trio decides that they aren’t just going to take this treatment and slowly they band together to formulate a plan. Three heads are better than one as they plot an amusing series of revenge schemes directed at the men in their lives. Much hilarity ensures along the way, showing that revenge can be quite fun and extremely sweet when you know what to do.

Hugh Wilson’s energetic direction moves events with a kinetic drive and humour, yet never sacrifices any of the sympathy or seriousness that The First Wives Club has to offer. There are those that will accuse this movie of man bashing from the start, but I find that to think that is missing some of the point. Sure the men depicted are not dactyl model citizens but the main focus is on the ladies getting perceived justice after being wronged. Everything is mainly done with a sprightly and at times acidic humour that makes the film very funny and not just one that ridicules men. After all it is just a film and I do t think the intention is to alienate men at all, I didn’t feel slighted by the film at all. I had an absolute ball with its mix of comedy and drama, that really got you to feel for these ladies and then take pleasure as they took back control over their lives. And talking of what made the film great, the script of arch one liners and a bundle of hilarious scenes is sufficient enough to pique anyone’s interest. Take for instance, when the ladies sneak into Morty’s apartment to search for papers that prove he’s a crook and must exit when he returns, using a window cleaner lift. If you’re not laughing by the end of that outrageous scene, you clearly have no humour. And that late rendition of ‘You Don’t Own Me’ is a showstopper if ever there was one. The music score provided is one of lively intent and dynamic jumps in tempo, which suits the film down to the ground.

The three main ladies of this comedy are sensational and their chemistry is a highlight. Goldie Hawn is side-splittingly hilarious as the vain and shallow Elise, who is desperately trying to be young through cosmetic surgery and is at times very highly strung. The energy of Hawn is superbly suited to the often manic but creative character, who emerges as quite decisive in the plans to ruin the man who wronged her. Really capturing the attention is Bette Midler; the most vindictively amusing and loud of the club. You can’t fault Midler and her knack for comedic zingers, which are dispensed with vigorous style and attitude. Diane Keaton completes the triangle of great ladies by playing the repressed Annie as a bottle of jangled nerves, waiting to explode. Keaton is a dab hand at humour but also gets the right notes of sympathy for the character too as her strength slowly reveals itself. As aforementioned, these three ladies work beautifully together and it is clear as day that they had a good time making this comedy. Sarah Jessica Parker elicits plenty of laughs playing the trashy girlfriend of Morty with an eye on getting to the top, while an amusingly tart Maggie Smith rocks it as the much widowed society lady with significant tricks up her sleeve and resources to burn. Dan Hedaya, Victor Garber and Stephen Collins are the men of the film who find out just how much revenge can hurt. Hedaya is the clear standout of the guys with his constant attempts to explain away his actions quite funny.

Funny yet knowing when to be serious, The First Wives Club is great viewing as a comedy and to watch three great actresses working together with gusto.