Film Review: The Shape of Water

Guillermo del Toro’s sci-fi fairy tale The Shape of Water is at times beguiling, at times surprising, and a joy to watch.

Eliza is a cleaner at a high security government facility. She lives a solitary existence punctuated by routine. When a new asset is brought in, Eliza is curious about the creature…

With a screenplay written by del Toro and Vanessa Taylor, The Shape of Water blends a number of genres. First and foremost, the film is fairy tale. It falls within the parameters of this structure, with its character archetypes and plot points. The film distinguishes itself by its setting and the unusual character fulfilling the ‘princess’ archetype.

The Shape of Water places a traditional fairy tale into a science fiction-tinged setting. Dominantly, this comes in the form of the creature itself. However, other markers are there, such as the preoccupation with the space race. The period setting allows for some beautiful production design.

From the first shot of the film, spectacle is almost assured. And the film does not disappoint in this respect. The special effects are excellent, and Dan Laustsen’s cinematography most admirable. There is some beautiful framing in the film, not least the last shot.

The main characters conform to certain archetypes, yet a coloured sufficiently to have their own personalities. It is wonderful to see Sally Hawkins taking the lead in such a big production. The character means she must communicate mostly through expression, and she excels at this. Michael Shannon and Octavia Spencer play the type of roles we have seen from them before, but both a great at this. Richard Jenkins and Michael Stuhlbarg are also on good form.

The Shape of Water is a different kind of fairy tale, but one that offers plentiful spectacle and entertainment.

The Shape of Water is being screened at the BFI London Film Festival in October 2017.

Film Review: Paddington

Paul King’s Paddington is a perfectly pitched comedy adventure that should satisfy all demographics.

Paddington is a young bear in darkest Peru who is brought up b his aunt and uncle. When he travels to London to look for a new home, Paddington is spotted by the Brown family, who offer a temporary home…

Based on Michael Bond’s books which first appeared in the late 1950s, Paddington could have easily misstepped the mark in bringing the character to the big screen for contemporary audiences. Thankfully, the film avoids this, instead offering a lovingly crafted picture that is sure to win over audiences.

Director and screenwriter Paul King has created a film that will appease fans of the original series of books, whilst also attracting a new audience. Paddington works well because it suits different audiences without alienating any demographic.

The film is peppered with humour from the very beginning. Whilst some of this is the more physical kind aimed at young viewers, for the most part the film with have older viewers laughing throughout. The narrative is a simple one, but one that works well thanks to the endearing characters and good pacing.

Themes in the film are conveyed successfully. The main theme of the outsider is effective in this context. It is a theme that feels pertinent in the landscape of contemporary British politics. Paddington does offer emotion as well as laughs. The more dramatic or pensive moments never become too mawkish, thankfully.

Ben Whishaw is well cast as the voice of the title character. Nicole Kidman appears to be having fun in her role, while Hugh Bonneville and Sally Hawkins are believeable are the Brown parents. Special effects in the film are excellent; particularly the rendering of Paddingon’s fur. Music also works well in the film, especially with the appearances of the band.

Paddington is a delightful film, which should prove to be highly entertaining for children and a most pleasant surprise for adults.

Stuff To Look At

Plenty of cinematic delights this week, including the latest trailer for The Hobbit: The Battle of the Five Armies, Into The Woods, Paddington and more…

The Hobbit: The Battle of the Five Armies

Here is the latest trailer for the final instalment of Peter Jackson’s second Tolkien franchise, The Hobbit: The Battle of the Five Armies. Sadly Gollum is nowhere to be seen, but there is plenty of hobbits, eleves, wizards and the like. The Hobbit: The Battle of the Five Armies will hit UK screens on  12th December 2014.

Into The Woods

Carrying on with the fantasy theme, a full trailer for Into The Woods dropped this week. It seems to have all the winning ingredients; fairy tales, musical numbers, and a great cast. Meryl Streep in particular looks wonderfully hammy as the witch. Into The Woods will be released in UK cinemas on 9th January 2015.

Horrible Bosses 2

Above is a clip from the forthcoming sequel Horrible Bosses 2. The film unites the main cast from the first film with newcomers Chris Pine and Christoph Waltz. It was refreshing to see Jennifer Aniston in a different kind of role in the first film, and it looks like this is no different. Horrible Bosses 2 is out on 28th November 2014.

Paddington

Oh my! Paddington in the snow. I recently bought a red duffle coat, and was told that I looked like a cross between Paddington Bear and Red Riding Hood. It was the greatest compliment ever. Anyway, Paddington, featuring Hugh Bonneville, Sally Hawkins and Julie Walters, will reach UK screens on 28th November 2014.

The Gambler

What is interesting about this trailer for The Gambler is that it uses The Rolling Stones’ ‘Gimme Shelter’, a song that many film fans will associate with The Departed, which also memorably starred Marky Mark. The Gambler, which also stars John Goodman and Brie Larson, is set for release in UK cinemas on 19th December 2014.

The Pyramid

Above is a featurette on upcoming horror The Pyramid. What I want to know is what exactly is in these pyramids. Is it mummies come to life? Or is it a more Indiana Jones-style bent? The Pyramid is out in UK cinemas on 5th December 2014.

Annie

Contemporary remake of the classic musical Annie is out just in time for Christmas. It is unclear how much singing will be involved from the above trailer, and how much Cameron Diaz’s Miss Hannigan will replicate the original. But here’s hoping. Annie hits UK screens on 20th December 2014.

Film Review: Blue Jasmine

Woody Allen’s comedy drama Blue Jasmine is a treasure trove of great writing, direction and performances.

Former New York socialite Jasmine is used to a lavish lifestyle. Following the loss of her fortune, Jasmine arrives in San Francisco to stay with her modest sister Ginger. Despite looking the part of a  well-adjusted lady, Jasmine is anything but…

Blue Jasmine is more serious than a lot of Woody Allen’s previous films.  Nevertheless, the humour is still present in this latest effort, and it is still effective.

The neurotic character is a common component of Allen’s films. In Blue Jasmine, this attribute is taken to the extreme. Jasmine is a fantastic and compelling central character. Viewers are unable to look away, even when watching is painful.

Other characters in Blue Jasmine are just as well-crafted. Ginger and Chili appear three dimensional. The various relationship dynamics at play are engineered for humour and drama. The ilm is successful in both these respects.

The themes that transpire in Blue Jasmine age old, yet this rendition feels most contemporary. At times, situations or characters can feel almost caricature; yet the absurdity is a plus as it adds to the humour of the film.

Woody Allen has a knack for drawing fascinating characters. Blue Jasmine is no exception. None of the film’s main characters are redeemable overall, but this does not make them less gripping. Allen’s dialogue is on point, as ever.

Cate Blanchett offers a maginificent performance as the protagonist. She is so convincing as Jasmine that her performance almost feels too heady in its resplendence. Sally Hawkins and Bobby Cannavale are great, as is Michael Stuhlbarg in a minor role.

With Blue Jasmine, Woody Allen has made a great return to form following the lacklustre To Rome With Love. It will be interesting to see what the prolific director does next.

Stuff To Look At

A treasure trove of film stuff, including the latest Thor: The Dark World trailer, Muppets Most Wanted and more…

Thor: The Dark World

Here is the new Thor: The Dark World trailer. It looks as if it will bring the same blend of action and comedy as its predecessor and Avengers Assemble. Thor: The Dark World is set for release in UK cinemas on 30th October 2013.

Muppets Most Wanted

The teaser trailer for Muppets Most Wanted (formerly known as The Muppets… Again) was released this week. There are plenty of celebrity appearances it seems, with Ricky Gervais taking the human lead. Muppets Most Wanted is due for release in Spring 2014.

Upstream Colour

I have seen Shane Carruth’s Upstream Colour and can report it is well worth the watch. The film is rather abstract, but is absorbing viewing. Upstream Colour is released in UK cinemas on 30th August 2013.

Blue Jasmine

Here is the trailer for Woody Allen’s latest, Blue Jasmine. Set in San Francisco, the film features Cate Blanchett, Sally Hawkins and Alec Baldwin. From the trailer alone, it looks as if Blanchett will be fantastic. Blue Jasmine is released in UK cinemas on 27th September 2013.

We’re The Millers

Here is a featurette on We’re The Millers, the new comedy starring Jason Sudeikis and Jennifer Aniston. From previously trailers, the film looks as if it could be pretty funny. We’re The Millers is released in the UK on 23rd August 2013.

Film Review: Submarine

Richard Ayoade’s Submarine is a remarkably well-executed debut. A coming-of-age comedy drama, the film has more depth than many other teen movies that deal with similar issues.

Teenage schoolboy Oliver Tate is navigating the labyrinth of adolescence. His two main preoccupations are getting a girlfriend and ensuring his parents stay together following their marital woes…

Submarine boasts great writing from Ayoade. The film is frequently humorous, and at times poignant. Submarine has been carefully crafted; the characters are well thought out and situations are both relatable and quirky.

Part of the film’s success can be attributed to the fact that the characters are easy to empathise with. Protagonist Oliver is not the typical teenage lead. This immediately makes Submarine more interesting, distinguishing it from other films with a similar theme. Oliver has the same concerns as many teenage boys. Yet his approach to these concerns is markedly different. The film opens with Oliver hypothesising about the affect his premature death would have. This includes a dream-like sequence which depicts the whole school in mourning. The set piece is bizarre, but also endearing. Oliver’s grandiose approach is amusing, but this does not detract from identifying with the teenager. It is easy to see why the issues in Oliver’s life are so critical to him.

The characters in Submarine retain a sense of believability because they are flawed. None of the characters are perfect, yet it is easier to empathise with some over the others. In keeping with these naturalistic portrayals, there are no good or bad characters, per se. Even Graham, who is envisioned as the enemy by Oliver, is not depicted as being entirely bad. Graham, like the rest of the characters, is a shade of grey.

Submarine features a number of references to film. Some of these nod to other movies, while others are more self-reflexive. At one point Oliver expresses a wish to be followed by a documentary film team, and the camera obeys his direction. While this is amusing, it also indicates an awareness of the cinematic process.

Performances are great in Submarine. Craig Roberts really embodies the character of Oliver, while Paddy Considine is wonderfully ludicrous as Graham. It is Sally Hawkins and Noah Taylor who really stand out as Jill and Lloyd, however. Their deadpan performances inject a considerable amount of humour into the film.

Set as a three-chapter piece, the film does lose its way a little in the second part but recovers quickly. Overall, Submarine is a memorable tale.

Film Review: Made in Dagenham

Given director Nigel Cole’s previous work in Calendar Girls, it is unsurprising that Made in Dagenham is a film that concentrates more on the emotional side rather than the factual evidence of the 1968 strike by female workers at the Ford Dagenham car plant. As this film is a dramatisation featuring mostly fictional characters, that doesn’t matter too much; Made in Dagenham is an enjoyable movie which should do well, in the UK market at least.

Rita O’Grady becomes the reluctant leader of a campaign for equal pay for women in late-1960s Britain. As well as dealing with personal issues brought on by the strike, Rita and her band of campaigners have to contend with chauvinistic bosses, unhelpful union leaders, and numerous others in their quest to end pay discrimination…

Made in Dagenham is in many ways typical of mainstream British cinema. It is a feel-good film combining drama and comedy. The film features many well-known faces from the British screen. And the focus is on a very particular group on individuals; in this case a group of working class women living in Dagenham.

Although it ticks these boxes, that is not to say that Made in Dagenham is a tired film. Some of the characters are well-developed, and will be responded to accordingly by audiences. Others are featured more for comic value, but again this seems to work in Nigel Cole’s film. Whilst the film holds no great surprises, it is engaging enough to entertain viewers throughout.

Some may complain that Made in Dagenham follows a well-tread path in British film, eschewing realism for sentimentality. The film, however, functions on the level it intends to; a feel-good film that will appeal to audiences well-versed in the style of its predecessors. On this level, Made in Dagenham is effective. Whilst it may not be ground-breaking, it is enjoyable.

Sally Hawkins gives an excellent performance as Rita, the reluctant working wife and mother who, at heart, understands how important it is to stand up against injustice. Bob Hoskins is watchable as ever, in a role that does not stretch his capabilities in the least. Geraldine James and Miranda Richardson both add a necessary weight to proceedings, whilst Andrea Riseborough is immense fun as the outspoken Brenda.

Technical credits are good all-round. The 1960s soundtrack works well to transport viewers back to the late-1960s setting. Likewise, the costume department have excelled in this respect.

Some of the humour and references may be lost on non-British audiences, but for the most part Made in Dagenham has universal appeal, if taken on face value as the feel-good film it is.

Film Review: It’s a Wonderful Afterlife

Director Gurinder Chadha said in a recent interview that she was sick of making romantic comedies. Perhaps not the best way to promote your new film; a romantic comedy.

It’s a Wonderful Afterlife tells the story of Roopi, a British-Asian woman, and her mother who is desperate to see her daughter married. So desperate in fact, that she has taken to murdering those who get in the way…

The story is very flimsy, based on a rather ridiculous premise. This would not matter if the film was consistently humorous. However, the film is weak in this area; although there are some funny gags, it lacks the frequency of comedy you would hope for from this genre.

Goldy Notay shines in It’s a Wonderful Afterlife, giving an earnest performance despite the material she has to work with. The one highlight of this film is in its casting of Notay as the leading lady; it is refreshing to see someone in this role who is not stereotypically attractive, as with most rom-coms. Thus, when she struggles to find a partner or laments her situation, the audience can believe her.

It is a pity that less effort was spent developing the other characters in the film. Sendhil Ramamurthy is attractive as the love interest, but there is not much else too him. One is never given too much of an impression as to how his character feels, or his motivations. Sally Hawkins is bright and entertaining as the best friend Linda, although her Carrie-inspired sequence goes on a lot longer than necessary, thus losing any initial amusement.

It is decidedly positive that Chadha has chosen to take a different direction. Whilst Bend It Like Beckham was a fun and engaging film; this most recent offering  is far less inspired. Coupled with this is Chadha’s inclination to offer a very similar, stereotypical depiction of Asians (particularly Asian parents) in almost all her films. By avoiding the romantic comedy genre, hopefully her next film will offer more originality.