Film Review: The Mercy

James Marsh’s The Mercy offers strong performances and decent storytelling. The only real fault is that the film eschews the most fascinating aspect of the story.

When he hears about the 1968 Sunday Times Golden Globe Race, Donald Crowhurst decides to take part. The only problem is that he lacks the experience and vehicle to do so, being an amateur sailor. Putting his business and house on the line, Donald sets sail…

The story of Donald Crowhurst taps into the David and Goliath trope with an amateur sailor wishing to beat the odds in a round the world race. The Mercy functions on two main levels; Crowhurst’s ambition and his journey, and the story of those left on shore. James Marsh directs the focus on protagonist. It is a story of trials, mostly of the main character but also of his wife. The film takes artistic licence with Donald’s time at sea, focusing on the isolation felt by the protagonist at being alone for so long.

For all it’s earnestness, The Mercy does not pack that much of an emotional punch. Viewers will no doubt sympathise with Clare and to a certain extent protagonist. Marsh wisely shows flaws of protagonist; this makes the character more convincing. Yet it may not help viewers to fully engage with him.

For those who do not know about the race and Crowhurst, the story takes an interesting turn. In the second half of the film, there is a shift in mood as necessitated by the narrative. Marsh aims for a level of tragedy which the film does not quite reach. Whilst some reasoning behind Donald’s decision-making is revealed, there is not as much focus on the trickery of the protagonist. And this is the most interesting element of the true-life story.

Colin Firth delivers a great performance as Donald Crowhurst. He is supported by Rachel Weisz very ably, albeit in a bit of a thankless role. David Thewlis is also good. The Mercy‘s various parts are admirable. Yet overall, the film does not quite hit the spot.

Previews: Peter Rabbit Featurette, Ferdinand, More!

Lots to see in this week’s preview of coming attractions, including a new Peter Rabbit featurette, Ferdinand, Smallfoot, and more…

Peter Rabbit Featurette

This Peter Rabbit featurette wisely introduces the wider cast of the film. With James Corden receiving bad publicity recently, Sony uses this feature to shift focus to other cast members. Corden is joined by Daisy Ridley, Margot Robbie, and Domhnall Gleeson in this big-screen adaptation of Beatrix Potter’s work. Peter Rabbit will be released on 16th March 2018.

Ferdinand Clip

This is a clip from upcoming animated adventure Ferdinand. The film is about a bull who is mistaken for a dangerous beast, and taken from his home. The voice cast includes John Cena, Kate Kate McKinnon, and Gina Rodriguez. Ferdinand will hit the big screen on 9th December 2017.

The Greatest Showman Featurette

This featurette for The Greatest Showman focuses on Zac Efron, and what attracted him to work on the film. The Greatest Showman is an original musical about P.T. Barnum and the birth of show business. Hugh Jackman leads the cast, and is joined by Efron, Michelle Williams, and Zendaya. The Greatest Showman will be released in cinemas on 26th December 2017.

Smallfoot Poster

Here is the new poster for Smallfoot. The film is an animated adventure about a yeti who finds something he didn’t think existed – a human. The film is directed by Karey Kirkpatrick, director of Over the Hedge. Smallfoot features the voices of Channing Tatum, Zendaya, Common, and Danny DeVito. The film is set for release on 5th October 2018.

The Mercy Trailer

The Mercy is director James Marsh’s (The Theory of Everything) latest film. The film tells the true story of an amateur sailor in the late 1960s, who hopes to be the first person in history to single-handedly circumnavigate the globe without stopping. The film stars Colin Firth, Rachel Weisz, and David Thewlis. The Mercy will be released on 9th February 2018.

Film Review: London Boulevard

If Richard Curtis made gangster movies, they would probably be a bit like London Boulevard. The film reeks of artificiality, and the main characters are less than engaging.

Just released from prison, Mitchell intends to go straight after receiving a job offer from a reclusive but beautiful female celebrity. His friends have other things in mind, however. Mitchell is reluctantly dragged into the London underworld by a powerful gangster, but at the same time is getting to know Charlotte better…

Directed and written by William Monahan, based on Ken Bruen’s novel, London Boulevard strives to be a great British gangster film. While the story of a reformed criminal struggling to juggle his past and future is adequate (although it offers little in originality), the film lacks compelling characters. There are some amusing characters, but Mitchell is not engrossing enough to carry the film.

Ray Winstone’s Gant is a caricature East-End gangster; at times it feels like he is parodying some of his previous roles. Charlotte’s self-obsession does not make her the most appealing love interest, while there is a lack of intrigue to Mitchell. Some of the minor characters are entertaining, nonetheless. Mitchell’s friend Billy is the source of amusement, while Jordan is deliciously over the top, thanks to a great performance from David Thewlis.

London Boulevard thinks it’s cooler than it actually is, an aspect that grates increasingly as the film goes on. Despite the contemporary setting, there is very much a ‘London in the swinging sixties’ feel, generated by the music and the dated archetypes. With its gratuitous swearing and violence, it seems that Monahan aimed to make a classic gangster film, but the result appears artificial. London Boulevard is clearly a film about London from a non-Londoner. It’s romanticised depiction of the city is visually faithful, yet the atmosphere rings hollow.

Colin Farrell gives a decent performance, but his London accent is distractingly patchy. Kiera Knightly does a good job of playing herself – not much of a stretch. Ben Chaplin injects some lightheartedness as Billy, while Anna Friel is excellent as Mitchell’s chaotic sister, Briony.

Towards the end of London Boulevard, numerous plot holes appear. Certain aspects are never explained or concluded, and the climax is disorderly in its descent. Although most of the camera work is adequate, there are a few jarring episodes, such as the shaky handheld shots of Mitchell and Gant’s confrontation in the car park.

London Boulevard seems to be an attempt for Monahan to replicate his success in screenwriting The Departed. London Boulevard, however, lacks a proficient storyline as well as convincing and absorbing characters. Give it a miss.