Their Finest

Tags

2010's, Bill Nighy, Drama, Gemma Arterton, Helen McCrory, Jack Huston, Jake Lacy, Jeremy Irons, Lone Scherfig, Paul Ritter, Rachael Stirling, Richard E. Grant, Sam Claflin, Their Finest, World War II

Film Title

Their Finest

Director

Lone Scherfig

Starring

• Gemma Arterton as Catrin Cole
• Sam Claflin as Tom Buckley
• Bill Nighy as Ambrose Hilliard
• Jack Huston as Ellis Cole
• Paul Ritter as Raymond Parfitt
• Jake Lacy as Carl Lundbeck
• Richard E. Grant as Roger Swain
• Rachael Stirling as Phyl Moore
• Helen McCrory as Sophie Smith
• Jeremy Irons as Secretary of War

A splendidly engaging and unexpected ode to cinema, women and doing what needs to be done in World War II, Their Finest captures your attention and heart with the story it has to tell. A crowd pleaser with a most knowing touch is an apt way to describe the delightful Their Finest.

It is 1940, London, and the Blitz is at its height. Catrin Cole is a Welsh girl, living in an apartment with her artist husband Ellis, whose more than a bit moody and not exactly a supportive presence. A copywriter, she is called specifically the film division. Her knack for good dialogue is realised, even though it is said that she will be writing what many call the slop( women’s dialogue). She is hired for work on movies and partnered with snide and cynical Tom Buckley and older, more understanding Raymond Parfitt in the screenwriting process. Though paid less than the men and frequently questioned about her capabilities, Catrin emerges as a talented addition to the team. Being one of only a few women in a male dominated game, the odds are stacked against Catrin. But she is no wilting flower and can gradually in the story, easily handle herself against sexism and attitudes towards her doing a profession such as hers. With the War raging on, cinema provides an escape for those at home. The Ministry of Information is hoping that a new propaganda film will blend both authenticity and optimism into one, enabling audiences to feel comforted and with a rousing feeling. The film takes its basis from a newspaper article of two twin sisters using their father’s boat to rescue men from Dunkirk. Upon researching it further, Catrin discovers that the story has been exaggerated a lot. Though knowing this, she helps form a scenario around the events that will boost morale. And being that it is a propaganda film, the embellishment of facts is inevitable anyway. Catrin shows how indispensable she is with her flair for writing and her emerging determination to be taken seriously. Soon production is under way, yet various issues are present. The over the hill Ambrose Hilliard, who has a big opinion of himself, is perturbed that he is playing an old role. This is amusing because he is in his 60’s, yet can’t quite accept his glory days are far behind him. In order to appeal to American audiences and hoping to coax them into joining the war, the big wigs of production and Secretary of War employ former pilot Carl Lundbeck to be in the picture. The problem is, while handsome and projecting the right image, he is a hopeless actor. Most of all, it’s nearly a battle itself between Buckley and Catrin Through it all, Catrin manages to let her voice be heard and earn the respect and love of the initially standoffish Buckley as the unpredictable war continues. With luck, they hope their movie can be a rousing success and ignite the public imagination to a feeling of hope in a time of darkness.

Lone Scherfig, who previously demonstrated her greatness at tapping into the past in An Education, showcases that again with Their Finest. She finely discovers humour, pathos and inspiration in the story and knows exactly when to incorporate seriousness into the largely amiable proceedings. It’s a tightrope walk that could have gone wrong, but humour and maturity go hand in hand here, and highly benefits the overall product. Plus, Scherfig’s greatest asset is shooting a movie concerning World War II from a female perspective. I personally feel that there are not enough movies about World War II focus on the women who played a part, thankfully Their Finest corrects that in style and a displays a fervent female overcoming the obstacles to gain respect. The film itself is blessed with a sincere and funny screenplay, that has humour in the making of the propaganda film and the emotional undertones of the terror that war brings. It also has a great usage of wordplay, particularly between Catrin and Buckley, whose growing attraction becomes more obvious, despite the constant sniping and disagreements. You may be forgiven for thinking that Their Finest is simply cosy whimsy, but while it is charming and full of vitality, it never skirts around the tragedies or hardships of the war. And while at first you may be inclined to believe you know the outcome of the film, it throws in a surprising curve ball that changes a lot. Believe me, I never saw it coming at all, which is a credit to how the movie knows when to blind side you and show its dramatic muscle. This very instance of shock brings with it a heft of moving moments that add another string to the movie’s bow. Very much like the movie being made in the story, Their Finest knows how to please the crowd, being rousing yet never forgetting the devastation of World War II. You can’t get be wrapped up in the inspiring story, both of Catrin asserting herself more and the behind the scenes look at the propaganda movie. Comedy ensues in the brightest way in the beginning the scenes stretches, with various techniques and mishaps proving how the experience of a film is trying but usually worth it. A lovingly flowing score from Rachel Portman highlights the optimism and change of the time with deft assurance and emotional touches.

A beautifully judged performance from Gemma Arterton is one of the main joys of Their Finest. A nicely employed subtlety is evident in her keen and plucky portrayal, finding emotion and growing feistiness in the role of Catrin that is a great showcase for the actress.  Lovely, genuine and boasting a backbone of steel that comes in handy when asserting her talents, Arterton makes Catrin an arresting heroine who you immediately warm too and want to watch succeed. For my money, this is one of the best parts Gemma Arterton has had in a movie and goof for her I say, as I’ve always been a fan of hers. Sam Claflin, behind small glasses and a moustache, has the stinging sarcasm and attitudes for a man of the time; while delving into the inferiority complex he has and why he acts like a jerk. He shares a nice chemistry with Arterton, that starts flinty and evolves into a mutual understanding that is lovely. Being the scene stealer that he is, Bill Nighy sinks his teeth into the part of has-been actor who still thinks of himself as the biggest star in the world. It’s a funny, self-mocking part, that also makes time for Nighy to display a caring and inspiring side to what at first appears to be a very difficult. Nighy is the one who gets most of the laughs in Their Finest. Jack Huston is left with the least engaging part of Catrin’s inattentive husband, while Paul Ritter quietly thumps away at the typewriter as the mediator in the screenwriting process. Also getting laughs is Jake Lacy, whose all American appeal and square-jawed features are handsomely used to play a charming but not very talented star thrown into the propaganda film. Richard E. Grant, Rachael Stirling and Helen McCrory provides great support, as does a cameo from Jeremy Irons as the Secretary of War.

Charming, spirited yet grounded in seriousness when it needs to be, Their Finest is wonderful movie making that celebrates the powers of cinema and inspiring women.

The Riot Club

Tags

2010's, Douglas Booth, Drama, Holliday Grainger, Jessica Brown Findlay, Lone Scherfig, Max Irons, Natalie Dormer, Sam Claflin, The Riot Club, Tom Hollander

Film Title

The Riot Club

Director

Lone Scherfig

Starring

• Max Irons as Miles
• Sam Claflin as Alistair
• Douglas Booth as Harry
• Holliday Grainger as Lauren
• Natalie Dormer as Charlie
• Jessica Brown Findlay as Rachel
• Tom Hollander as Jeremy

A dark and often uncomfortable film set within a secret Oxford society of toffee-nosed young men, The Riot Club has currency undoubtedly.  And while the direction is confident at burrowing into this world and the performances pretty good, it never quite pulls together as a film which ultimately knocks it down in estimations.

Two young men, Miles and Alistair begin their first years at Oxford University. Both boys are from prosperous backgrounds but are very much opposite in terms of attitude; Miles is an amiable guy, who despite being from money, is quite open-minded and funny, while Alistair is a surly, resentful guy with a massive chip on his shoulder. Starting life in university, they both begin to hear of The Riot Club. It is a secret society that has been going for centuries and is dedicated to debauchery, drinking and selfishly bad behaviour. The club needs ten members each term and at the minute, there are only eight people. Slowly, both boys are coerced into the club, which gets away with most of its activities through the use of money and entitlement. Now proper members, they are invited to the celebration dinner that the club hosts every year. As they have been banned from quite a few establishments for misdemeanors in the past, they settle on a pub and take their hedonism to the back room. As the night progresses, things begin to get out of hand very quickly. And when a shocking act of violence is committed, it threatens to shatter the club to the very core and tear their futures apart.

Having directed the perceptive An Education, Lone Scherfig transfers her skills to this cruel subject matter. Her direction is quite adept as she shoots from something of an outsider’s point of view; getting us to sneak into this debauched world of privilege and abhorrence, even if we don’t understand it. Scherfig is at her best when it comes to the crux of the film, which is the annual dinner scene where the dramatic heft comes in. Playing with whirling camera angles and too close for comfort close-ups, she intelligently gets across the scathing attack on the rich, who have no cares but their own and don’t give a damn about who they hurt. It is the best part of an uneven movie and one that savagely builds to violence. Before that, the pace takes a little bit too long to get really going and you may find yourself losing interest. At least when the dining scene hits, it grabs you by the scruff of the neck and pulls you in. If most of the film had been confined to this extended scene, then the claustrophobic impact may have hit a little harder than it actually did. The script from Laura Wade, and based on her own play, takes vicious aim at the class system, a culture of entitlement and the accountability of actions. Yet while this barbed snarl comes through loud and clear, it unfortunately feels rather heavy-handed and not quite as perceptive as it likes to think it is. Most of the characters in the eponymous club are rich, snotty and ultimately vile human beings and while that may be the point of them, you don’t half feel a bit sordid watching them behave this way. The main character of Miles is the one closest thing to a hero as he is the most at odds with everything and slowly becomes aware, but he is by and large the only real character to like. All the rest, you really just want to reach through the screen and thump for their arrogance. A bit more bite in the writing may have lifted The Riot Club higher, but it never quite gets beneath the themes that it raises. In the end, a lot of it just feels like another boys behaving badly film that has been done to death over the years. A quietly intriguing and bristling score at least brings some much-needed tension and irony to the film.

What gives The Riot Club extra points is most of the cast. Max Irons plays the mainly upstanding member of the group who is seduced by the adventure at first, but then begins to feel disillusioned when he sees how vile it really is. Irons does a commendable job that makes you feel sympathy towards him as he realises the wrong that the club revel in, even if it is a little too late once chaos erupts. Sam Claflin is equally as marvellous, tearing up the screen little by little as a young man who feels inferior and acts out in a snobbish way to get some form of power. His vitriolic speech in the middle of the film where he boasts of his elitism and disdain for the poor is a pretty damn fine piece of acting. While the other members of the group blend into each other with their shared nastiness and pompous snobbery, Douglas Booth stands out playing the raffish one who is never far from a lady. The Riot Club has only around three female parts and while none of them are a particular stretch, the actresses inhabiting them do a commendable job. Holliday Grainger essays the role of Max’s less well off girlfriend who while sweet can spot a mile away that his involvement in the club will only lead to a downfall. Natalie Dormer has what amounts to a cameo as a prostitute who quite rightly puts the boys in their place and clearly won’t take no guff. The last girl is Jessica Brown Findlay as a waitress who also doesn’t take well to the harassment and attitude of the disreputable toffs. Tom Hollander has an eye-catching cameo here that makes the most of his time on screen.

Appropriately dizzying and disquieting as it is, along with confident direction, The Riot Club simply doesn’t have enough within it to make it stand out and could have been telegraphed better. And given the nasty characters, the film can be repulsive to many and it never reaches the levels of bitter satire that it aspires too.

The Hunger Games: Mockingjay Part 1

Tags

2010's, Action, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jennifer Lawrence, Josh Hutcherson, Julianne Moore, Liam Hemsworth, Natalie Dormer, Philip Seymour Hoffman, Sam Claflin, Science Fiction, The Hunger Games: Mockingjay Part 1, Woody Harrelson

Film Title

The Hunger Games: Mockingjay Part 1

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Julianne Moore as President Alma Coin
• Philip Seymour Hoffman as Plutarch Heavensbee
• Donald Sutherland as President Snow
• Jeffrey Wright as Beetee
• Sam Claflin as Finnick Odair
• Natalie Dormer as Cressida

The third film of the franchise, Mockingjay Part 1 emerges as a more subdued sister than its previous installments. At times it does feel a bit slow and devoid of action, but at the same time it’s interesting to watch this gathering calm before the storm as it explores political upheaval and the growing sense of rebellion.

Katniss has been saved after destroying the Games in the last movie. Scared and wracked with nightmares, she is taken underground to District 13. After her act of defiance, her district was destroyed and acts of protest against the corrupt Capitol have been ever-present. The enigmatic Alma Coin and political propaganda expert Plutarch Heavensbee sees Katniss as the poster girl for a full-scale attack on President Snow and his barbaric forces. The wounded Katniss is very reluctant at first to strike back as she worries about what happened to Peeta. But after seeing the destruction of her district and the sheer cruelty of Snow which includes having a brainwashed Peeta as the spokesman to talk down rebellion, that inner fire inside of her begins to burn and she becomes the face of resistance in this time of political strife and corruption. Yet with Snow using his choke hold of tyranny against the districts, it is going to be dangerous for all involved. But the newly resurfacing of Katniss is returning and she will spearhead this campaign to bring down the corrupt powers that be, aided by good friend Gale and bands of rebels wanting to be free from oppression.

As I previously mentioned, Mockingjay Part 1 is the slow build up kind of movie. For times in the film, it works very well in capturing the machinations of political rebellion and the waiting to strike. I did however find parts of it a bit dull and craved a bit more action than what was shown. Yet this doesn’t make it any less effective as a movie, it’s just slightly different from the last two entries. Francis Lawrence crafts this engaging story with a certain topicality in the politics and propaganda used featuring Katniss as the face of resistance. Even though this film is set in the future, many of the issues it deals with are very present in our current climate which adds a further dimension to this series. Mockingjay may be the slow burner, but it has a personal and more intimate feeling to it. It may be risky to have a sci-fi/action movie that only has sporadic moments of action, but I liked the way in which Mockingjay showcases how wars can be waged with the power of words and imagery rather than just violence. An effectively bleak visual style gives voice to the darkness and terror felt by the people under the rule of President Snow. An evocative and building score helps give tension and personal feeling to Katniss as she regains her steel and prepares to fight for the people. The scene of Katniss singing ‘The Hanging Tree’ and it acting as inspiration and a call to arms is an excellent example of this as the melody flows through with urgency.

Jennifer Lawrence rivets the attention from beginning to end as the emotionally tormented heroine Katniss. Embodying rage, pain and steel, she is a strong-willed character who can make a difference in a world of barbarity. With deep clarity, selflessness and toughness, Lawrence is a marvel to watch as the resilient and purposeful warrior due to her mature performance and sheer amount of talent. Josh Hutcherson, although seen quite sporadically this time, is strangely different as the Peeta who has been tortured and brainwashed. Liam Hemsworth contributes the mix of caring emotion and earnestness, while Woody Harrelson continues to be a hoot as mentor Haymitch. I liked seeing Elizabeth Banks as the now dressed down Effie, once the glory of the Capitol and now an ally with freedom. Julianne Moore encompasses the cold, detached persona of President Coin, while the late Philip Seymour Hoffman brings a considerable presence to his part as the propagandist. Hoffman is still missed now and this movie is a reminder of his talent and skill even in a small role. Donald Sutherland is still as menacing and commanding as ever as the despicable President Snow, who is not tolerating rebellion against his tyranny. Jeffrey Wright, Sam Claflin and Natalie Dormer in supporting roles at least make an impact, despite somewhat limited screen time.

Mockingjay Part 1 emerges as a thought-provoker rather than an action blockbuster which may disappoint some, but is still very effective in the way it is gearing up for the next part.

 

Snow White and the Huntsman

Tags

2010's, Bob Hoskins, Charlize Theron, Chris Hemsworth, Fantasy, Ian McShane, Kristen Stewart, Ray Winstone, Rupert Sanders, Sam Claflin, Sam Spruell, Snow White and the Huntsman, Toby Jones

Film Title

Snow White and the Huntsman

Director

Rupert Sanders

Starring

• Kristen Stewart as Snow White
• Chris Hemsworth as the Huntsman
• Charlize Theron as Queen Ravenna
• Sam Claflin as William
• Sam Spruell as Finn
• Ian McShane as Beith
• Bob Hoskins as Muir
• Toby Jones as Coll
• Ray Winstone as Gort

A dark and stormy twist on the Snow White tale, Snow White and the Huntsman brings the tale to life with style. Yet for all that, a sometimes dragging narrative and questionable casting stop it from becoming a complete success.

Once upon a time, a King and Queen live in a prosperous kingdom. The Queen gives birth to a princess who is named Snow White. Sadly, the Queen dies and the King is left in a web of grief. Invading forces attack and the King goes to battle, eventually destroying the mysterious army. Among the dead, he discovers a beautiful woman by the name of Ravenna. Besotted with her beauty, the King hastily marries her. But he doesn’t realise that Ravenna is in fact a twisted and vengeful sorceress. Ravenna murders the King and brings her dark forces to the kingdom, which causes everything to wither into darkness and hopelessness. Ravenna is obsessed with remaining young and beautiful and as a result locks Snow White away in a tower. She retains her youth by draining the life force of young girls and then consulting with her magic mirror. When the mirror tells her that Snow White is the fairest, Ravenna descends into rage and plots her death. Meanwhile, Snow White sees an opportunity to escape and manages to. The young princess finds herself in the Dark Forest, which is feared by everyone. Enraged, Ravenna summons a drunken Huntsman to track her down. The Huntsman has no interest in helping the evil queen at first, but when she promises to bring his deceased wife back to him, he agrees. Venturing into the woods, he tracks Snow White and when it is revealed that Ravenna has tricked him, joins forces with the princess. They find themselves tracked by the Queen’s forces and journey deeper into the ravaged land. There they come across a band of dwarfs who were loyal to her father and William, a young nobleman with whom Snow White was friends with as a child. As she is the King’s daughter, she must be the one to lead the rebellion against Ravenna and take back the kingdom for good once and for all.

Debuting director Rupert Sanders bring a whole lot of style and panache to this film. Instead of a quaint fairy tale that has been done a thousand times, he delves into the dark heart of the story and brings the Gothic nature of it into view. The set design is absolutely sublime, with The Dark Forest being the highlight of an impressive array of visual splendour with moody colour scheme and creepy effects. The costumes are fantastic, especially in the case of Ravenna, who dresses to kill both metaphorically and literally. It’s great to see a different take on Snow White as a character. Here she is an innocent girl who transforms into a Joan of Arc style warrior leading men into battle. This is a far cry from the winsome and fawning portrayals of the eponymous princess we have seen. And yet there lies part of the problem with Snow White and the Huntsman, it can’t quite makes its mind up of what it wants to be. On one hand we have the effective dark fantasy with a few tweaks here and there. But by altering some of the classic story, the passion is lost. There is supposed to be passion between Snow White and the Huntsman, and even something of a love triangle with William, yet it curiously falls flat. And a middle section that drags at a snail’s pace does the movie no favours. Thankfully, the thundering musical score conjures up some striking moments of drama and magic.

Kristen Stewart portrays Snow White and I must say, is not really that memorable or good in the part. She nails the gloomy stance in the beginning quite well, but seems incapable of escaping this open-mouthed stare and emotionless drudge. Stewart doesn’t convince either when it comes to the growth of the character throughout the narrative. I can’t help but feel that if someone else where in the part, I would have enjoyed it a lot more. Chris Hemsworth fares much better as the Huntsman, by carefully bringing a worn-out persona and lonely existence to this brutish man. Yet the real fireworks come from a superb Charlize Theron. Portraying Ravenna as a woman consumed by fear, hatred and no mercy, she is marvellous when she takes the floor and vents her fury. Possessing that imperial gaze and glint of eye, Theron makes what could have been a stock character very interesting and arresting by showing us her back story and why she is the way she is. Sam Claflin doesn’t register that well as Snow White’s friend from childhood, but Sam Spruell sends shivers down the spine as Ravenna’s too close for comfort brother. The acting talents of Ian McShane, Bob Hoskins, Toby Jones and Ray Winstone add dashes of humour to the proceedings as the dwarfs.

Snow White and The Huntsman may be stylish and a visual marvel, there’s just something missing because of the unevenness in tone and lack of passion to balance things out. Saying that, I enjoyed it a hell of a lot more than Mirror, Mirror.

The Hunger Games: Catching Fire

Tags

2010's, Action, Amanda Plummer, Donald Sutherland, Elizabeth Banks, Francis Lawrence, Jeffrey Wright, Jena Malone, Jennifer Lawrence, Josh Hutcherson, Lenny Kravitz, Liam Hemsworth, Philip Seymour Hoffman, Sam Claflin, Science Fiction, Stanley Tucci, The Hunger Games: Catching Fire, Woody Harrelson

Film Title

The Hunger Games: Catching Fire

Director

Francis Lawrence

Starring

• Jennifer Lawrence as Katniss Everdeen
• Josh Hutcherson as Peeta Mellark
• Liam Hemsworth as Gale Hawthorne
• Woody Harrelson as Haymitch Abernathy
• Elizabeth Banks as Effie Trinket
• Sam Claflin as Finnick Odair
• Jena Malone as Johanna Mason
• Donald Sutherland as President Snow
• Philip Seymour Hoffman as Plutarch Heavensbee
• Jeffrey Wright as Beetee
• Amanda Plummer as Wiress
• Lenny Kravitz as Cinna
• Stanley Tucci as Caesar Flickerman

The Hunger Games: Catching Fire is the second film of The Hunger Games series. Following on from the groundwork set by the predecessor, it emerges as a smart, darker and more thought-provoking film. Featuring an excellent cast, a relatable heroine in the form of Katniss Everdeen as played by Jennifer Lawrence and some amazing visuals, Catching Fire is an sci-fi/action movie with brains that still delivers the goods.

After surviving the 74th Hunger Games by threatening to kill themselves, Katniss and Peeta return to District 12. They are paraded around as victors, but Katniss is having trouble adjusting to life again. Although seen as a beacon of hope by many, she is plagued by horrific nightmares of what she had to do in order to survive. The corrupt President Snow senses rebellion is brewing as a result of Katniss’ defiance. He blackmails Katniss into saying that the reason she survived was her ‘love’ for Peeta, when in actual fact she did it to enable their safety. He threatens to kill those most dear to Katniss if she doesn’t comply with his actions, including her good friend Gale, who has feelings for her. Although he wants Katniss dead, he employs the help of the enigmatic Plutarch, a man working on the Games. Plutarch suggests using a special version of The Hunger Games in order to relinquish rebellion. In this version of the games past victors can be chosen and sure enough Katniss and Peeta are both selected for the brutal games. As the games begin, Katniss must ally herself with some of the other skilled competitors in order to emerge alive from the carnage that will follow.

Taking over the reins from Gary Ross, Francis Lawrence crafts a darker, smoother movie than the first. Whereas Ross favoured use of kinetic shaky cam, Francis Lawrence utilises more fluid shots to create a sense of journey and the uphill battle to stay alive. The special effects employed in Catching Fire are marvellous in execution, especially the various obstacles that are thrown the way of Katniss. These include tidal waves, birds that mimic the screams of a loved one and some seriously vicious and brutal baboons. The score provided accentuates the struggles, pain and horror that befalls those competing. One flaw could be the length of the film as it does drag in places, but overall the running time is appropriate.

What gives Catching Fire its thought-provoking edge is the cast of it. Jennifer Lawrence once again is phenomenal as the heroine Katniss Everdeen. Lawrence lets us glimpse the emotional scars she suffered that she hides behind her strong, armour like demeanor. As a result, Katniss emerges a multi-dimensional character, alternately strong and capable but also caring and vulnerable. It is Lawrence’s performance that gives the film its heart. Josh Hutcherson rises to the challenge by being given more to do as Peeta than in the last movie. Liam Hemsworth follows suit with a more expanded role. Woody Harrelson and Elizabeth Banks are both on fine form as the returning mentors to Katniss and Peeta. Newcomer Sam Claflin is charming as the capable contestant Finnick and Jena Malone is a stubborn, sullen but moving presence as Johanna. Donald Sutherland is gleefully nasty as the corrupt President Snow, while Philip Seymour Hoffman works well with his enigmatic role . The ever-reliable Jeffrey Wright provides the brains as the techno wizard and Amanda Plummer is delightfully kooky as his wife. Lenny Kravitz is touching as the sympathetic stylist to Katniss and Stanley Tucci is a hoot throughout.

Combining thrilling action, interesting parallels with the subtext of media manipulation and well-drawn characters, Catching Fire proves itself as a successful sequel  and great movie in its own right, spearheaded by the evocative and strong performance of Jennifer Lawrence.