entertaining

Zootropolis/Zootopia

Posted on by Charlotte_Sometimes

“We may be evolved, but deep down we are still animals.”

Anthropomorphism, Disney and animation have a long history. As early as Walt Disney’s first feature film Snow White (1937), in which all the woodland creatures appeared to have various personality quirks, attributing human characteristics to cartoon animals has been a way of enhancing a story. Then, with numerous Disney classics, it became the way to tell a story. In 1995, with Toy Story, Pixar began to add to the Disney magic by giving characteristics along with pathos to the inanimate objects and animals. Now, in 2016, with Zootropolis (released nearly everywhere else as Zootopia) we see this enhanced to the max with an animated film that features anthropomorphism whilst also serving multiple layers about diversity and racism, all told by Disney with just a smidge of Pixar wit. It’s funny, sweet and far deeper than it first appears.

During a school play in front of her parents, her peers and their parents, a young bunny called Judy Hopps (Ginnifer Goodwin) declares that when she grows up she wants to be a police officer. Many people laugh at her, one person even beats her up for the audacity of saying it and both her parents are a blend of supportive-but-unsure. But Judy proves them all wrong.  She’s the first bunny first to enter the police academy and the first bunny to actually join the police force. Her first posting is Zootropolis, a nearby metropolitan city. Her parents can’t believe it and neither can her new boss, an African buffalo by the name of Chief Bogo (Idris Elba), who assigns her the role of parking duty. Day one on the job seems to be going well, until she is tricked by con artist fox Nick Wilde (Jason Bateman). However the two are soon forced to work together by Mayor Lionheart (J.K. Simmons) and assistant-mayor Bellwether (Jenny Slate) to help solve a case involving a series of missing animals. Can what were once predator and prey ever work together, possibly even become friends, or is nature stronger that nurture?

It may be slightly too early to say, but Zootropolis has all the potential to be as-well regarded both critically and commercially as last year’s Inside Out. The jokes are really really funny and the drama is really really emotional. My personal favourite joke from the film has to be when fellow police officer Clawhauser (Nate Torrence) first meets Judy Hopps and calls her ‘cute’. Judy winces then carefully explains that “only a bunny can call another bunny cute”. Cue many belly laughs from the cinema screen. That gag is also an example of the kind of humour that has become prevalent in animation since Shrek (2001). The humour of these animations is almost two-layered. To explain on a very basic level, there’s the slapstick jokes for kids and the jokes for their parents that go way over their heads. It makes taking a child to the cinema a far more enjoyable experience for their parents, as opposed to having to endure some brain-dead-only-aimed-at-children romp.

The animals are very well characterised, both matching their animal types whilst also being well-rounded. Judy is fierce, dedicated and ambitious – a solid role model. Nick the fox is sly and alarmingly charming for a fox, though that may just be my personal feelings for Jason Batemen having an effect here… Idris Elba is hilarious as the imposing yet ultimately caring chief who just happens to be a buffalo. Shakira even appears as Zootropolis’ biggest star, Gazelle.

Then there’s the story itself, well-told with a solid twist. There are some fantastically inventive set pieces, be that the sloths working at the DMV or the practically word-for-word Godfather tribute. The story also has a lot you can sink your teeth into (sorry, pardon the pun!) Though the two groups of predator and prey may appear united in the metropolitan city of Zootropolis, it is a delicate union. One which is weighed down by tension and borderline-hostility. Although prey and predator may be neighbours very few are actually friends and few would choose even to be nice to each other. Some restaurants even refuse to serve certain types of customers. When it becomes clear that all the missing animals in the case are in fact predators it looks set to force the bubbling undercurrent of tension to the surface. The film is far from subtle in reflecting our own society’s tensions and forcing a degree of reassessment, yet that is no criticism. Considering the current global climate, with regards to refugees and a certain toupee-wearing president wanna-be whose delusions of grandeur reveal the current state of institutional racism, Zootropolis is perfectly-timed and well in need of watching.

This is ‘proper’ Disney with the beating heart and talking mouth of Pixar. Witty, warm and well worth seeing. A fable for 2016.

Eddie the Eagle

Posted on by Charlotte_Sometimes

May Eddie the Eagle fly at the box office

One thing that really grinds my gears is when people my age say to justify a gap in their knowledge is, ‘Huh! Well that’s from before my time I guess.’ That is then proceeded with a slightly awkward shoulder shrug. For someone who often reckons that music peaked around 1985 I think it’s often used as a silly filler line. However, in a rather hypocritical move, I am going to say that the rise and soar then laughing stock of British skier Eddie “the Eagle” Edwards is ‘from before my time I guess.’ Occasionally he would pop up on various panel shows and people would poke fun, and I’d be vaguely confused and envious that a man with such an awesome nickname was being used for laughs (what can I say, I was a thoughtful child…) Anyway, I’ll save the rest of that for my therapist.

My slightly convoluted point here is that I had no idea what the man had done to achieve such levels of infamy and mockery. Then, when I heard of the film, I thought ‘Yeah…good luck with that one!’ Time passed by and the trailer was released which made me realise that the film was my kind of film. Then I got invited by Den of Geek to attend a preview screening and Q&A with the director, Dexter Fletcher, at The Courthouse Hotel (a 5* hotel with unbelievably fancy toilets) and that takes us right up to now. Three days on from seeing the film and it still makes me smile. It’s a truly wonderful movie and I beg you to go and see it. Now (and if you’re still with me after that preamble I declare) to you my utter love and gratitude for sticking with me) let me tell you why it’s so damn good.

Eddie Edwards (Taron Egerton) has wanted to be an Olympian for as long as he can remember. He was always the last to get picked for teams, spent a year in hospital due to the poor state of his knees and never quite seemed good enough for anything. He almost gave in and followed in his dad’s (Keith Allen) footsteps of becoming a plasterer until he found skiing, a hobby for which he had his mother’s (Jo Hartley) total support. He even made it to try-outs for the Olympic team before being told by the panel (lead by Mark Benton and Tim McInnerny) that he wasn’t Olympic material. That’s when Eddie decided that not only would he try on his own to make  Team GB for the 1988 Winter Olympics, he’d teach himself how to Ski Jump by decamping to a training camp in Germany. Either being ignorant or in denial about the fact that most Ski Jumpers start aged 5/6 (Eddie being 22) he proceeds to train solo with great resilience both from injury and belittlement from the experienced jumpers. That’s when alcoholic ex-ski jumper Bronson Perry (Hugh Jackman) steps in to help Eddie from death by training. A friendship/brotherhood quickly forms between the pair, under the shadow of Perry’s ex-mentor Warren Sharp (Christopher Walken). Will Eddie become skilled enough to join Team GB or will his dreams die again once more?

This film is totally and utterly brilliant; an utter joy to watch. Though it’s not a state I often occupy, I felt so patriotic after seeing this movie. Partly because it’s a British movie, and it’s the kind of movie we do so, but mainly because Eddie’s journey and how it’s told is so unique to British cinema. Yes, other countries do underdog movies, but so few do them in this way. Eddie’s journey is so lacking in glory, so real (grey-area term as some of the movie is fictionalised) that he reflects each and every one of us. It’s an important reminder not to give up on your dreams, and the power of self-belief. It’s also bloody hilarious, that blend of slapstick and deadpan and sarcasm that makes British cinema so comparatively unique. I giggled, I laughed and I even snort-laughed. It was glorious.

Taron Egerton is already on the up-and-coming, cusp-of-greatness list of actors and this film cements it. Firstly, a post-viewing google showed how similar Egerton looks to 1988-era Eddie along with how scarily accurate the expressions and mannerisms are. He’s also such a great actor to watch, his handling of the pathos and comedy of the character is extraordinary. You do well and truly root for Eddie. Hugh Jackman is great in his mentor role, forming a great rapport with Edgerton. Allen and Hartley are little seen but add much to the impact of the film. Then, with a brief cameo, Christopher Walken sasses the hell out of two lines of dialogue.

There’s also a wonderful 80s soundtrack, as uplifting and smile-inducing as the film itself, brilliant use of sets on such a small budget and some hilarious character actors in supporting roles. Eddie the Eagle is being released into the wild on March 28th, the same weekend as Batman Vs Superman. So why not give some home-grown talent some love and go see it. I promise you it’s worth the money.

We may only be a quarter of the way into the year, but this may just be THE feel-good movie of the year. Go see it.

Hail, Caesar!

Posted on by Charlotte_Sometimes

All Hail Hollywood!  And, all Hail the Coen Brothers!

1951 was a bit of strange time for Hollywood. The studio system was starting to shift and the oligarchic owners were starting to lose power. Rather understandably its stars were getting fed up of being owned by the studios. The studios got to decide what they would be starring in, who they would be working with, what they looked like and even who they were dating. The post-world war two boom had begun to grow to a standstill and film-makers weren’t quite sure what the people wanted. Some classic films were made that year (A Street Car Named Desire, Alice In Wonderland and The African Queen, to name but three) as were a lot of terrible movies from every genre and hybrid-genre you could possibly think of. If the people don’t know what they want, adopt a ‘throw-everything-at-them-and-see-what-sticks policy’. It’s these issues that make the era a perfect setting for a movie. It’s also the reason that the Coen brothers are the perfect men for the job.

The life of the head of production at Capitol Pictures is not an easy one. In 27 hours Eddie Mannix (Josh Brolin) must handle one drama after another. First there’s the lead of his series of synchronised swimming epics (Scarlett Johansson) who’s both pregnant and unmarried. Then there’s the all-singing and little-talking cowboy(Alden Ehrenreich) who is forcibly being made to transition from Westerns into thespian drama, much to the bitter frustration of his new luvvie director (Ralph Fiennes) followed up by a check-in on the latest musical starring multi-talented (Channing Tatum), dodging the four preying eyes of gossip columnist twins (both played by Tilda Swinton) and most importantly finding his A-list star (George Clooney) who has disappeared from set. Maybe his job offer from the aviation industry isn’t that unappealing after all…

First I want to state that this is not a perfect movie. Its pacing is off, and the entire film feels like a series of rather delightful misadventures as opposed to one overarching narrative. That fact will put some people off (although that doesn’t really explain/justify the 16 people who walked out of the screening I attended). But for others, including myself, this fundamental flaw is in fact another reason to cherish the movie as surely that rhythm or tone of chaotic mayhem is how life working in the dwindling studio system would have been. What is also allows the Coen brothers to do is duel-handily poke fun at the farce-like-ness of this period of time, and also lovingly embrace it.

Each set-piece is beyond stunning. Every single costume is stunning, with every single character feeling like a tribute to a by-gone era. The synchronised swimming sequence featuring a giant, mechanical whale reinforces the notion that this is THE Dream Factory. The loving pastiche theme continues with Channing Tatum’s ludicrously inventive tap dance and singing number, where he and a dozen sailor lament their going on door as ‘We Ain’t Gonna See No Dames.” However, speaking from personal preference, it’s Alden Ehrenreich as Hobie Doyle the Cowboy-turned-actor who totally steals the show. When considering the talent (ahem, Brolin, Johansson, Finnes and Cloonney!) this is truly no mean feat. Doyle is the perfect blend of dim but charming. His attempts at ‘serious’ acting are utterly charming but it’s his date with Carlotta Valdez (cheeky nod to Hitchcock’s ‘Vertigo’ there!) , an up-and-coming Latina actress that will win the hearts of the nation. His accidental wooing of her is pinch-his-cheeks and say ‘nawww’ levels of adorability. He is definitely one to watch.

Although the ‘star of the show’ may not actually steal the spotlight (as hopefully outlined and justified above) it’s Clooney’s storyline that solidifies the fact that this film is not throughway fluff. His ‘journey’ whilst held hostage provides much reflection on the nature of Hollywood ideology, a subliminal critique of the industry by reflecting on the very nature of entertainment, the ugly work that goes into creating what we view as such beauty…but that’s a discussion for another day, (ideally in a pub, with a drink in hand!)

For now, I’ll leave you with this. For those of us who are nostalgic for a time we never lived (I’m including myself in this category) there’s escapism and incredible tributes to the past. For cinephilles there’s subtle reflection on the ugly/beautiful process of cinema-making. There’s also romance, lots of humour and Channing Tatum signing (who knew he had the voice of an angel!?!)

If you’ve got a spare hour and forty minutes this is a film well-worth your money. Enjoy!

 

 

 

 

 

A Bigger Splash

Posted on by Charlotte_Sometimes

A rockstar, a record producer, a documentary-maker and a recently discovered illegitimate daughter go on holiday…

The hardest thing I suspect I will find about writing this review is overusing the adjective ‘beautiful’ and its various synonyms, because that is what A Bigger Splash is. Beautiful. Beautiful cast in beautiful scenery that is beautifully shot and with a story that is beautifully told.

Marianne Lane (Tilda Swinton) is a rockstar of arena-like proportions. After surgery on her throat and vocal chords renders her mute for several weeks (as part of her post-operative recovery) she decides to go into reclusion with her partner Paul (Matthias Schoenaerts). They are staying on the remote Italian island of Pantelleria when their weeks of nudity and nookie are interrupted by the arrival of her ex-producer and ex-lover Harry (Ralph Fiennes), who has brought with him Penelope (Dakota Johnson) who recently discovered that Harry is her father. What follows will test the ties of fraternity, paternity and sexuality with catastrophic consequences.

The events of the film play out in a way that is unpredictable, sweaty and bitterly humorous. This is Swindon and Fiennes at the top of their respective games. Due to her character’s temporary muteness Swindon has little dialogue; the few lines she does say are husky and barely audible. Instead she says entire monologues on matters of the heart with her facial expressions – bitter rage, frustration, mortification, adoration and admiration shown through looks. A less-skilled actress would be constricted by her characters damaged vocal chords; instead what could be a limitation showcases the true skill Swindon possesses. The grace and manner of her movements and expressions, along her facial expressions, bring Marianne Lake: Rock Star to life. Both when painted in David Bowie-esque costume and make-up and when wearing nothing at all, it feels like you are watching the life of a real, if fatally flawed, person.

At 52, with countless film and theatre credits which demonstrate his mastery, it is incredibly impressive that Fiennes can still surprise. His Harry Hawkes is a bundle of raw energy, a magnetic charisma who dominates each scene. Along with providing the funniest moments of the film (and a dance sequence to The Rolling Stones that I challenge you to be able to watch without averting your eyes in bewildered embarrassment) he demonstrates the mythical fine line between comedy and tragedy. Harry Hawkes is a man who uses his charisma, uniqueness, nerve and talent to mask much inner-darkness. His self-destructive descent into hedonism is (dance sequence aside) utterly enthralling.

It’s a pleasure to see Schoenaerts on the big screen again, roughly 10 months since the release of Far from the Madding Crowd and his enamouring take on loyal and noble Gabriel Oak. His character here, Paul, is one who initially appears to have fewer layers than his romantic partner and love rival, but this proves that appearances can be deceptive. He is currently one of the most interesting and underappreciated supporting actors in cinema at the moment, and I greatly look forward to seeing more of his (admittedly rather beautiful) self.

And then there’s Dakota Johnson, of 50 Shades of Grey infamy. What A Bigger Splash succeeds in doing is adding another reason for why Shades is such a mediocre movie, as A Bigger Splash proves that not only can Johnson act but she is mighty fine at it. In fact, she well and truly holds her on with her fellow leads. Penelope is an intriguing character, made even more so by Johnson’s acting ability. Penelope is a character who almost defies description (in a complimentary way), suffice to say she is a product of her father in the best/worst of ways.

 There is one more crucial player in A Bigger Splash – Pantelleria itself. Located 100km southwest of Sicily (fact found courtesy of Google) it is a place I had not heard of prior to the film and is of such unrivalled beauty that I cannot escape mentally from the mysticism of it. Few places, when on the screen, are displayed in such heart-stopping and breath-taking beauty. The events of A Bigger Splash, when splayed out in a review such as this could seem almost borderline-soap opera. It’s the scenery, and the skill through which it is shown, that prevents this. Yes some sequences possess a degree of melodrama, but setting it in such a beautiful (alluring, dazzling, exquisite, stunning, and wonderful) landscape only elevates the emotional response of the subsequent events. However, it’s the slightly oddball, quirky tone of these events that makes the film truly memorable. Though the pacing is slightly stilled on minor occasions, with one or two plot points that drag, there is a humour tinged by darkness that makes the plot haunting and ultimately cataclysmic.

A sun-kissed soap opera told with class and comedy with an abundance of tragedy. A must-see.

 

Pride and Prejudice and Zombies

Posted on by Charlotte_Sometimes

45% Pride and 45% Prejudice and 10% Zombies

In 2004 Simon Pegg, Nick Frost and Edgar Wright created a new hybrid genre called Zombie-Romantic-Comedy (ZomRomCom) with Shaun of the Dead. In 2007 an American author took this one step further and wrote a parody novel of Jane Austen’s classic Pride and Prejudice by adding in zombies. Nearly 10 years later, after years of development hell (heh, that term has rarely been so apt) we have the film adaptation.  It may not be the most haunting (heh) Austen adaptation, nor will it give others a run for their money (heh, running from zombies) but it is more than entertaining and worth a watch. My main criticism, as you may have noticed from the subtitle is that the zombies make up a small proportion of the film, a too small proportion to really make the most of the high concept.

It is a truth universally acknowledged that a zombie in possession of brains must be in want of more brains. – Elizabeth Bennett. In a world that has been overrun by zombies for almost a hundred years, young women have more than enough to worry about than finding a husband. At least that is what Elizabeth Bennett (Lily James) thinks, and her four sisters agree to varying extents. Their mother Mrs Bennett (Sally Phillips), however, believes otherwise. Mr Bennett (Charles Dance) disagrees with his wife wholeheartedly, which is why he had his girls spend much of their childhood in China, training in the arts of killing zombies, moulding them into fearsome zombie-killing army. When Mr Bingley (Douglas Booth) reopens a residence nearby, he hosts an introductory ball to which the Bennetts are invited. It’s there that Elizabeth meets Colonel Fitzwilliam Darcy (Sam Riley) , a haughty monster-hunter renowned and feared for his zombie-killing skills. When the ball is invaded by zombies the Bennett sisters dazzle Darcy and Bingley with their skills, affection and admiration begins. But will the course of love ever run smooth whilst the undead stalk the Earth?

Overall, the film really succeeds for the first fifteen minutes. The concept feels fresh and funny, the zombie/romance balance is level (something I fear I will never get to write again…) and it’s a pleasurable novelty to see the key events of Austen’s novel enhanced by zombie tropes. There’s also a truly beautiful animated story-book style opening sequence, voiced by the legend that is Charles Dance, that informs us of how the zombies came to be. Unfortunately, the remaining 80-odd minutes of the film are not as pleasurable. The ZomRom balance (I’m going to copyright that phrase) does not really warrant the ‘and’ of the title. Maybe it should be Pride and Prejudice and a few zombies and lots of talking about zombies  (though perhaps that is not as catchy). When the zombies are actually on-screen it provides some of the best moments, producing a couple of jumps and a fair few laughs. But there is too much talking about strategies for dealing with zombies as opposed to fighting them.

However, it’s not all bad. The cast for this film is so good, and so well suited for their roles, that you actually wish this was just a straight-forward adaptation of Pride and Prejudice. Lily James, who shone in War & Peace last year’s Cinderella, is superb as a feisty and witty Elizabeth. She manages to make Elizabeth’s progression into a trained warrior seem almost plausible. She has great chemistry with Sam Riley’s Darcy, providing a degree of sexual tension previously unseen in adaptations of this work. Austen would have approved I suspect. However, as Parson Collins, Matt Smith steals every scene he is in. It’s great to see Smith in another comedic role (aside from his marmite take as The Doctor). Here his timing is brilliant and his ability to make a relatively small role stand out speaks volumes about his ability. Another wonderful surprise is Lena Headey as the one-eyed-eye-patch-wearing Lady Catherine de Bourgh, who snarls her way through her too-few-scenes. 

To conclude, this is a more than fine way to while away two hours. The cast is superb, the script has enough charm, and the novelty just great enough to entertain. Whilst easy to bemoan the minimal zombie presence, this is an excellent attempt at a twist on a classic with a fantastic cast who prevent it from being a forgettable B-movie.

Action, romance and zombies. Something for everyone with this film.