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.

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A Single Man

Tags

2000's, A Single Man, Colin Firth, Drama, Julianne Moore, Matthew Goode, Nicholas Hoult, Tom Ford

Film Title

A Single Man

Director

Tom Ford

Starring

• Colin Firth as George Falconer
• Julianne Moore as Charley
• Nicholas Hoult as Kenny
• Matthew Goode as Jim

An emotionally rich and soulful debut from fashion supremo Tom Ford, A Single Man is a film not to be missed, as it delves into themes of grief, contemplation and love.

It is 1962; George Falconer is a gay British professor living in California, who lost his partner Jim to a car accident eight months ago. His grief is very strong and he just attempts to get through the days, which is becoming more and more difficult as life without Jim is completely unbearable in George’s eyes. A Single Man unravels across a sole day in which George is faced with a decision that could be final. George is so haunted by the memories he shared with this soul mate that on the day in which the film takes place, he is contemplating suicide to end his suffering. Throughout the day, he comes into contact with many people who populate his life and could potentially sway his decision of committing suicide. There is his boozy friend Charley, who he once had a relationship with but she is now somewhat lonely and craving any sort of attention and love. We also have Kenny, one of George’s students who pines for his professor’s attentions after hearing him give a rousing lecture which is different from his usual style of teaching. Through these respective meetings, George starts to see things differently for possibly the very first time since losing Jim. But will any of these encounters or events truly persuade George that he should go on with life, instead of ending it all?

Tom Ford, in what was his debut as a director, suffuses A Single Man with both beauty(gorgeous black and white flashbacks of happier time with Jim ) and wealth of emotion(George’s morning routine of putting his clothes on in an armour like fashion, while he narrates his struggle of presenting himself). Ford is a visionary to be sure, but his greatest talent lies in his exploration of the central character’s journey and seating us right at the heart of it, giving us the full clout of it all. Also worthy of note is the way that sexuality is resented in A Single Man. The setting is the 60’s when homosexuality was still a taboo and while there are coded references to this knowledge, the character of George is presented in a very matter of fact way. His romance with Jim is shown with the respect and love of any other relationship in movies, which is how it should be. Kudos to Tom Ford for displaying he relationship like this and not sensationalizing it. The premise of A Single Man sounds like a real downer and yes it does have an air of sorrow throughout, but it also feels very alive and vibrant as George considers opening up to possibilities and beauty in the world, just as he does battle with thoughts of ending it all. The stupendous cinematography clearly enriches this, capturing the grey parts of George’s world that quite literally become golden when he opens his eyes to life’s possibilities the last time in his life. Colour is key is this film and it just adds another layer of sophistication and beauty to this moving story that refuses to let go of you once it has pulled you in. The visuals have to be some of the best that I’ve seen in a movie for a while, because of powerfully they accentuate the narrative and drive the events along with scrupulous depth. A powerful music score evinces the emotions at play with degrees of shaded nuance to them. The score is sublimely conducted and matches events with nary a wasted note present.

Colin Firth is astonishingly fantastic in a role that fits him like one of the character’s suits. He is a master of restraint and burrows quietly into the devastation and contemplation of George. He is put quite simply, a marvel in the part of stoic sadness and rumination that reveals so much with the tiniest of gestures. Firth has rarely been better than he is here and this for me is a defining role for him that I won’t forget in a hurry. Julianne Moore provides sterling support acting as the drunken party girl, who covers her crushing loneliness with bravado while still carrying a torch for George, despite knowing that nothing will come of it. Nicholas Hoult sensitively stars as the love struck student who wants his professor to open up more and makes the character quite sweet and supportive in the long run. Matthew Goode plays the deceased partner of George’s in vivid flashbacks with a charm and ease that it isn’t hard to grasp why George’s world is falling apart without his shining light.

A deeply moving and sensuous piece of cinema, A Single Man brings out a whole array of thoughts that leaves you feeling so many different things. Anchored by the composed work of Colin Firth, A Single Man is a beautifully rendered and haunting film that grips and moves you in every conceivable way.

Mad Max: Fury Road

Tags

2010's, Abbey Lee, Action, Charlize Theron, Courtney Eaton, George Miller, Hugh Keays-Byrne, Mad Max: Fury Road, Nicholas Hoult, Riley Keough, Rosie Huntington-Whiteley, Tom Hardy, Zoë Kravitz

Film Title

Mad Max: Fury Road

Director

George Miller

Starring

• Tom Hardy as Max Rockatansky
• Charlize Theron as Imperator Furiosa
• Nicholas Hoult as Nux
• Hugh Keays-Byrne as Immortan Joe
• Rosie Huntington-Whiteley as The Splendid Angharad
• Riley Keough as Capable
• Zoë Kravitz as Toast
• Abbey Lee as The Dag
• Courtney Eaton as Cheedo the Fragile

When I heard there was going to be another Mad Max movie, I was a little ambivalent as to how it would turn out. Thankfully after hearing the praise for it from almost every critic, I finally watched it and boy did it deliver in spades. Fury Road is one exhilarating spectacle of high-octane action and dystopian craziness. To say I enjoyed this movie, would be a huge understatement.

In the distant future of vast and arid wasteland where resources are scarce and humanity has descended into utter madness, we have Max. A shell of a man, his only instinct is to survive the chaos that surrounds him while dealing with haunting visions of people he was unable to save in the past. We begin with Max being captured by fanatical War Boys, who worship the tyrannical leader Immortan Joe. The grotesque Joe has a complete hold on remaining survivors and keeps them in check by depriving them of water. Max is imprisoned and is forced to be the blood donor to one of the sick War Boys known as Nux, who has been utterly brainwashed by the leader. While attempting to escape, another incident sets in motion dangerous consequences. The driver of Joe’s war rig Imperator Furiosa has had enough of the conditions and escapes with precious cargo Joe’s harem of wives; Angharad, Capable, Toast, The Dag and Cheedo. These girls have been enslaved by the cult leader and used so he can produce an heir. When Joe sees what Furiosa has done, he sends out his armed men on a high-speed chase through the deserts. Max is strapped to the front of one of the trucks and manages to survive the carnage that awaits. Teaming with the fierce Furiosa, he helps her in her quest to reach the land where she was born in hopes of safety and redemption. It won’t be easy with two tons of heavily armed disciples tracing them and attacking, but Max and Furiosa muster their strength to fight back and survive in this time of hopelessness.

Right from the start George Miller brings his expertise to the forefront and bring electrifying life to Fury Road. As the original director of the movies, he has lost none of his touch when it comes to delivering pulse-pounding action and explosive set pieces. From a chase through a violent sandstorm that engulfs everything in its path to the vast arsenal of vehicles and weapons used, he just brings such style to it. I don’t think I’ve ever seen a movie with so much action that just leaves your heart pounding and your knuckles white. For a film that runs for two hours, it sure doesn’t feel like it because of the sheer intensity of the movie. The whole visuals are outstanding, with the burnt oranges of the desert and the swirling dust showing us the destruction of humanity and the billowing white worn by the Wives as they flee their imprisonment creating a strikingly angelic impact against this unforgiving land. The sonic elements of this flick deserve so much credit. When watching this, you can hear everything amplified for maximum impact. The gears crunching, the bones breaking and the shrieks of madness, they’re all here and just arrest you from start to finish. And not forgetting the score, which resonates with epic drama and furious action. Mad Max: Fury Road isn’t just a film, it’s a reverberating and action packed event.

Stepping into Mel Gibson’s shoes must have been an extremely daunting task for Tom Hardy. Yet he brings the right strength to the role and nails the laconic demeanor of the character. Hardy has always been a physical actor and here it works excellently as with little dialogue, he conveys the primal need to survive in an extraordinary situation. But I must say that as effective as Hardy was in the role, Charlize Theron was the one who captured my attentions in her portrayal of Imperator Furiosa. Theron creates an intense and extremely determined character of stoic anger, responsibility and bravery. Most of this is conveyed through her eyes, which burn through the screen with steely ferocity. With her buzz cut, oil slicked across her face and a bionic arm, she really is an unforgettable creation and an asset to the movie embodied excellently by Charlize Theron. Nicholas Hoult gives insane and unstable energy to the role of Nux, the brainwashed War Boy who defies Joe and begins to help Max and the others in their attempt to survive. With his rumbling voice and physical presence, Hugh Keays-Byrne makes Immortan Joe a despicable and utterly grotesque villain. Rosie Huntington-Whiteley plays Angharad, Joe’s favourite of his wives who is heavily pregnant and while she isn’t the most competent actress, she brings a definite spark of innocence to the part. Riley Keough and Zoë Kravitz are also good as two of the escaped wives. Abbey Lee stands out the most among the quintet with her large eyes and grim sense of humour undercutting the danger all of them are involved in. Courtney Eaton rounds out the wives as Cheedo, the youngest of the girls.

Brutal, bloody and rip-roaring in the extreme, Mad Max: Fury Road is one of the best experiences I’ve had in the cinema for a long time and one that is impossible to forget.