Stan & Ollie

Tags

2010's, Biopic, Drama, John C. Reilly, Jon S. Baird, Laurel and Hardy, Nina Arianda, Shirley Henderson, Stan & Ollie, Steve Coogan

Director

Jon S. Baird

Starring

• Steve Coogan as Stan Laurel
• John C. Reilly as Oliver Hardy
• Shirley Henderson as Lucille Hardy
• Nina Arianda as Ida Kitaeva Laurel

A warmly bittersweet film about the last hurrah of legendary comedy duo Laurel and Hardy, Stan & Ollie is a film that invests you with the double act with just how involving, funny and poignant it is.

We begin in 1937 when Laurel and Hardy are at their peak, but even here they are still paid less than the other stars. Stan wants to get out of his contract with producer Hal Roach, as he doesn’t feel appreciated by him. Oliver wants to keep things as they are and not rock the boat anymore than it needs to be. This instance will be one that plays an important part later in the film. Fast forward to the 1950’s, neither man is at their height of fame anymore. But each has been persuaded to go on a music hall tour in the United Kingdom. Stan, who is the one behind the jokes and material of the routines, hopes what they ear in money can be used to finance a picture Stan wants to do. Oliver is in bad shape and not really a well man, but agrees to reform again. As they soon discover, it’s hard getting back out there because new talent has come along and captured the imagination of the public. The shows begin with not many people showing up in the audience, which doesn’t go unnoticed. Plus, various issues that have long remained dormant threaten to overshadow the tour and tear apart a friendship. But over time, the old magic comes back and the road looks set for a return to form, aided by the support of two sparring wives . Though spanners are thrown in the works, like Oliver’s failing health and with the history of the two, it could just be one last hurrah for the legends of comedy that are Laurel and Hardy.

Jon S.Baird is clearly crafting an affectionate but also revealing portrait of the legends and boy does he ever deliver. Along with the clever script that deftly mixes humour and pathos from Jeff Pope, Baird really dazzles with his warm-hearted but still bittersweet approach to behind the scenes of the lives of the beloved team. Of particular note is the virtuoso opening sequence in one shot of the team in their prime walking through the backlog of a studio, while they deliberate their contract with the slimy Hal Roach . Once the cameras roll, they are the Laurel and Hardy of legend, but there’s more going on behind the stage. The balance between the two elements of emotion and laughs is held neatly and makes the film flow amazingly. Nowhere is this more apparent than in the public argument between the duo which is filled with personal feelings of anger, but mistaken by onlookers as just part of their humorous act. In fact there are many instances of Stan and Ollie slipping into the public image that everyone knows in order to save face or escape from the harshness of life. The humour mingles with the melancholy and has you glued as Stan and Ollie realise that they need the other, despite buried grievances from the past. Credit must go to the staging, editing and make up, that make both lead actors the image of the great comedic duo. The recreation scenes from the movies of the stars is also a stroke of genius and is so precise and well realised. It leaves you smiling and with a lot of feeling, like all good movies should. A music score that is by turns deep and by others light, perfectly embodies what Stan & Ollie is going for in terms of audience feeling. I must admit in finding any fault with this movie as it was the definition of a fantastic cinema experience.

What really makes this movie soar is the lead work from Steve Coogan and John C. Reilly as Laurel and Hardy. Both get all the public mannerisms just right, like Hardy’s exasperated facial expressions and Laurel’s passive simpleton tics. It’s really uncanny as Coogan and Reilly have really done their homework and put their all into it. But it’s watching them reveal the behind the scenes nature of each. Coogan splendidly dives into the brains of Stan Laurel( which ironically go against the role of lovable idiot that he was in the public image) and the underlying sadness of someone wanting to succeed, but is also bitter by events of the past. It’s the fantastic mix of humour and emotion that also transfers to John C. Reilly, whose his equal as Oliver Hardy. Reilly has this sunny disposition that’s set against the alternating feeling of fatigue and hope.  The chemistry between the two works beautifully, much like the men they are portraying and paying tribute to. You never doubt for a minute that you’re witnessing two stellar performances that have great nuance. Sometimes with just a look, they say everything they need to. And while they form the centrepiece of Stan & Ollie, two other supporting members of the cast show they are no slouches either. They are Shirley Henderson and Nina Arianda. Both spark off the other as the spouses of the title characters, leading one person to say ‘two double acts for the price of one’. Both ladies are forceful, funny and entertaining in their own ways and they two contribute largely to the film as the supportive but firm wives.  It’s excellent casting all around for Stan & Ollie.

A wonderfully entertaining biopic that manages to sidestep the usual histrionics and over the top nature of the genre, Stan & Ollie weaves a warm picture that is bolstered by the spot on performances of Steve Coogan and John C. Reilly.

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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.

Chicago

Tags

2000's, Catherine Zeta-Jones, Chicago, Christine Baranski, Drama, John C. Reilly, Musical, Queen Latifah, Renée Zellweger, Richard Gere, Rob Marshall, Taye Diggs

Film Title

Chicago

Director

Rob Marshall

Starring

• Renée Zellweger as Roxie Hart
• Catherine Zeta-Jones as Velma Kelly
• Richard Gere as Billy Flynn
• Queen Latifah as Matron Mama Morton
• John C. Reilly as Amos Hart
• Christine Baranski as Mary Sunshine
• Taye Diggs as The Bandleader

A flashy, well-mounted musical based on the stage show, Chicago smolders with dark sensuality, exuberant, sensational music numbers and tons of smoky atmosphere. This jazzy film is a feast for the eyes and ears and full of scandal, sex and corruption to entertain all.

1920’s Chicago: meek housewife Roxie Hart desperately wants to be a vaudeville star. Although married, she is having an affair with a sleazeball who has been promising her a path to stardom, but has been stringing her along. When she finds this out, she flies into a passionate rage and shoots him dead. At first, a panicked Roxie tries to get her lovingly devoted husband Amos to confess to the crime, but the police see through the story as Amos becomes aware that his wife was having an affair behind his back. Subsequently arrested for her crime of passion, she is sent to the Cook County Jail to await trial. While there, she meets her idol Velma Kelly, an established star who has been imprisoned for shooting dead her husband and her sister/stage partner after discovering their affair. Velma is the queen bee of the spotlight and has no intention of giving it up. Meanwhile, Roxie is prompted by the corrupt but caring Matron Mama Morton to enlist smooth talking lawyer Billy Flynn to represent her in trial. Roxie accepts and soon becomes something of a sensation under the ruthless and manipulative tutelage of Flynn, and proves herself as equally cold-hearted and deceptive in her rise to the top. The media pounces on the story and it seems that murder and ensuing trials are just as much a form of entertainment as vaudeville. This sudden turning of the tables doesn’t sit well with Velma, who wants her stardom back. And with there only being room for one person at the top in the cut throat show business industry, it’s a fight for the spotlight indeed as music, celebrity and murder meet in glamorous fashion.

Rob Marshall invests Chicago with a dark heart and glamorous allure of stardom, complete with a stunning rendering of the scandalous 20’s and the decadent calling of the time. A whole lot of panache is thrown into Chicago that adds to the enjoyment, especially in the musical numbers. Crafted from Roxie’s point of view and filtered through a dreamlike gaze, these are stunning achievements that hark back to the classic musicals from Hollywood’s Golden Era. The opening number ‘All that Jazz’ is sexy and vibrant as sung by the brash diva Velma.  ‘Cell Block Tango’, in which female inmates narrate their crimes while dancing up a darkly seductive storm is a feverish delight. ‘Mister Cellophane’ sung by Roxie’s good-hearted but used husband Amos, dressed as a melancholy clown and reflecting on how he is looked over by everyone because he is unimportant. And my personal favourite ‘When You’re Good to Mama’ where Mama Morton explains the process by which she works known as reciprocity, all while performing a burlesque number with an ostrich feather. Everything comes together in the musical numbers and they really help expand the story and move it on. I couldn’t possibly talk about every musical number without going into extreme detail, so I’ll just say that they are knockouts. I was especially impressed with the portrayal of stardom in this film. A corrupt, dark but very entertaining business that can make you a star and then forget about you the next. There’s something amusingly cynical about this portrayal but also truth to it. And while some musicals rely too much on the numbers to carry them, Chicago has a witty script of catty one-liners and waspish remarks to boast.

In the lead role of fame-seeking Roxie, Renée Zellweger is very convincing, showing off excellent vocal skills and dance moves. She encapsulates Roxie’s naive attitude in the beginning and her rise to stardom which makes her a manipulative woman who cradles every ounce of that spotlight. Considering Zellweger had no prior training in either dance or singing, you really couldn’t tell from watching her fine work here. Yet while Zellweger is excellent in the lead, it’s Catherine Zeta-Jones who steals the show in an Oscar-winning performance. Sexy, bitchy and diva like, she is a marvel to watch whenever she is on the screen. And her sensational dancing skills and beautiful singing voice complete this impressive turn that deservedly won her many awards. Richard Gere is a natural fit for the role of the greasy, silver-tongued lawyer who turns his clients into stars. Queen Latifah is funny, sneaky and fabulous as the matron who will help you out if you provide money. John C. Reilly makes the most of his role of Amos, the neglected husband who is walked over by everyone. Reilly just has this knack for really wringing out deep emotion in this part as we witness how he is used by everyone around him simply because he is a decent person in a time of lies and schemes. Christine Baranski is impressive as the sensational journalist jumping on the scandal, while a mysterious cameo from Taye Diggs as a bandleader who introduces the musical numbers completes the impressive acting on show.

Flamboyant and exuberant, Chicago is a triumph of the musical genre that entertains throughout.

 

Carnage

Tags

2010's, Carnage, Christoph Waltz, Comedy, Drama, Jodie Foster, John C. Reilly, Kate Winslet, Roman Polanski

Film Title

Carnage

Director

Roman Polanski

Starring

• Jodie Foster as Penelope Longstreet
• Kate Winslet as Nancy Cowen
• Christoph Waltz as Alan Cowen
• John C. Reilly as Michael Longstreet

Based on the acclaimed play, Carnage is a darkly funny examination of a meeting between two middle class couples to smooth over a skirmish between their sons that turns into something quite different. As directed under Roman Polanski’s acute eye for body language and the power of words, Carnage is sharp, funny and dramatic viewing.

Penelope and Michael Longstreet invite Nancy and Alan Cowen over to their high-rise New York condo to discuss an altercation between their children. The Cowen’s son struck the Longstreet’s boy with a stick after an altercation, which resulted in a couple of broken teeth and a swollen face. Initially the meeting between the couples is cordial, but it soon begins to take on another form. As the couples begin to take sides on the issue of their kids, verbal assaults are thrown about and the mask of civility melts away into an extended slanging match on the differing viewpoints of class, ideals and morals emerges from this supposedly diplomatic situation. In the end, the meeting is nothing to do with the two boys, but the regression of their parents into anarchy at being in such a claustrophobic setting. Prepare for acerbic one liners, verbal jousting and fine performances from the four members of the cast in Polanski’s comedic chamber drama of niceties being dispensed with and the true self burrowing its way to the top in an argument.

The first thing to notice in Polanski’s movie is the limited but highly effective setting of the Longstreet’s condo. Polanski examines the humorous side to these middle class character’s insular surrounding with a certain amount of tension, which he is more than adept because of his work in Repulsion and Rosemary’s Baby. The condo seems to take on a life of its own and becomes almost prison like as we watch the Cowen’s attempt to leave but being halted at every opportunity. Polanski who also co-wrote the screenplay succeeds in bringing the acerbic wit to the screen with comedic and equally dramatic moments popularising this supposedly civil meeting between mature adults that descends into shouting and screaming. Roman Polanski manages to direct at a steady pace as the mask of diplomacy begins to slip and it really is amazing how he keeps us interested with such a short running time.

The biggest asset belonging to Carnage is the four main actors involved who all put in excellent work. Jodie Foster flat-out nails the role of Penelope Longstreet, a prissy woman obsessed with manners whilst being something of a snob. Her highly strung tendencies as a character really add to the comedic side of the film. Kate Winslet lets loose with her role as Nancy, the demure trophy wife whose escalating frustrations combined with too much booze lead her to extreme situations. Christoph Waltz gets some of the best lines as the ruthlessly suave and chauvinistic Alan, a lawyer constantly attached to his phone more than his wife’s pleas to leave. It is Alan who is the only character to see the absurdity of the meeting and the fact that no resolution will come of it. John C. Reilly adds humour but an underlying rage as Michael, who at first tries to calm the situation but later becomes a key instigator in stoking the flames of the already heated situations.

Making effective use of the limited setting, waspish dialogue and four great performances, Polanski’s Carnage in short is a barbed, dramatic and darkly funny account of civilised people descending into chaos.

Dolores Claiborne

Tags

1990's, Christopher Plummer, David Strathairn, Dolores Claiborne, Jennifer Jason Leigh, John C. Reilly, Judy Parfitt, Kathy Bates, Mystery, Stephen King, Taylor Hackford

Film Title

Dolores Claiborne

Director

Taylor Hackford

Cast

• Kathy Bates as Dolores Claiborne
• Jennifer Jason Leigh as Selena St. George
• Judy Parfitt as Vera Donovan
• Christopher Plummer as Detective John Mackey
• David Strathairn as Joe St. George
• John C.Reilly as Constable Frank Stamshaw

Based on the novel by Stephen King, Dolores Claiborne is a sombre and compelling mystery headlined by a superb performance by Kathy Bates. Evocatively scored by Danny Elfman and featuring an interesting flashback structure, Taylor Hackford has created a chiller that leaves you guessing till the very end.

On a coastal town in Maine, hard-working and tough-talking housekeeper, Dolores Claiborne is accused of murdering her elderly employer Vera Donovan. The chief detective, John Mackey, heads the investigation into the suspicious death and harbours a desire to imprison the woman as he believes she murdered her abusive husband Joe 20 years ago. Soon after, Dolores’s daughter Selena arrives to support her mother. Selena is a succesful writer struggling with a drink problem and suspicious of the events surrounding both Vera’s death and her father’s. Dolores hasn’t seen her daughter for years and attempts to get through to her, even though her daughter is unsure of her mother’s plea of innocence. Through the use of a flashback structure, subtle incidents in both of the women’s lives are revealed and we begin to understand more about them and their strained relationship with each other. Is Dolores innocent of the crime? Or is she in fact a double murderer? You’ll have to watch the film to find out.

Kathy Bates, starring in her second adaptation of a Stephen King novel after her Oscar-winning role in Misery, fixes the attention and steals the show as the title character. She at first appears to be a stony, bitchy woman, but as the mystery begins to unravel, she is shown to be something quite different. She is a tough woman, wounded by life but not beaten yet and Bates embodies the worn-down but still resilient spirit of the title character effortlessly. It truly is a testament to Bates’s ability that we are never sure if Dolores is well and truly innocent of the crime until the finale. Ably supporting her is Jennifer Jason Leigh as the suspicious and sullen Selena, who is never truly convinced of her mother’s innocence but forced to confront her own painful past in the process. Christopher Plummer savours his role as a resentful but motivated detective who will stop at nothing to make sure Claiborne is imprisoned. David Strathairn, seen in flashback as the abusive husband of Dolores , helps set the secondary conflict in motion because of his menacing presence. Also seen in glowing flashback is the excellent Judy Parfitt, as the overbearing rich woman who becomes an unlikely ally to Dolores before her mysterious death. John C. Reilly also appears in a small role as a sympathetic constable investigating the case.

Visually, Dolores Claiborne creates a chilling atmosphere, shading the Maine town in which Claiborne resides in blue and grey. This is counteracted by luminous flashbacks, bathed in an almost sepia tone, showing the ugliness that lies beneath a happy facade. Danny Elfman’s melancholy score accentuates most of the scenes with a sombre and evocative expression of suspicion and delving into the shocking past of the main character for answers.

Dramatic, enigmatic and enthralling, Dolores Claiborne is a mystery that grabs you from the opening frame and refuses to let go.