Director: Paul King
Starring: Ben Wishaw; Hugh Grant; Hugh Bonneville; Sally Hawkins; Madeleine Harris; Samuel Joslin; Julie Walters; Jim Broadbent; Brendan Gleeson; Peter Capaldi; Marie-France Alvarez; Sanjeev Bhaskar; Ben Miller; Jessica Hynes; Robbie Gee; Imelda Staunton
Films can make you feel a lot of things, but it is rare that one can make you feel pure, unbridled joy. With its sincerity and sweetness, Paul King’s Paddington 2, sequel to 2014’s successful adaptation of the beloved Michael Bond character, is just such a film.
Paddington Brown (Ben Wishaw) wants to buy an extra special birthday present for his beloved Aunt Lucy (Imelda Staunton) who is about to turn one hundred, to say thank you for all that she has done for him. In Mr Gruber’s (Jim Broadbent) old curiosity shop he finds just the thing, a pop-up book of the sights of London. The only problem is that it is a one of a kind antique, and much more expensive than a humble bear can afford. Knowing it is the perfect gift, Paddington sets out to find himself a job. However, when the shop is broken into and the book stolen, Paddington finds himself falsely blamed and thrown into prison. Continue reading
Director: Guillermo del Toro
Starring: Sally Hawkins, Octavia Spencer, Michael Shannon, Doug Jones, Richard Jenkins, Michael Stuhlbarg
Steven Spielberg once suggested that if someone can tell him an idea in a single sentence, it will make a pretty good movie. In the case of Guillermo del Toro’s The Shape of Water, that sentence would be “A mute cleaning lady falls in love with a fish monster.” It’s an unusual sentence, and its an unusual film: a Cold War noir, fairytale romance to be precise. But you know what, Spielberg was right. It’s a pretty good movie.
Elisa (Sally Hawkins) lives in a small Baltimore apartment, upstairs from a cinema. She is mute and lives on her own, but she is not alone. She spends her time watching old musicals on television with her neighbour Giles (Richard Jenkins), a closeted gay artist, and works as a cleaner at a military aerospace research facility with the irrepressible Zelda (Octavia Spencer), who fortunately does enough talking for the both of them. Continue reading
Director: Morgan Matthews
Starring: Asa Butterfield, Sally Hawkins, Rafe Spall, Eddie Marsan, Jo Yang
In 2007, Morgan Matthews directed a 90 minute documentary about the weird and wonderful young competitors at the International Mathematical Olympiad (IMO) called Beautiful Young Minds. The subject matter obviously left its mark on the director as seven years later he would return to it for his feature film debut X+Y.
X+Y tells the story of Nathan Ellis, an autistic boy who lives with his mother Julie in Yorkshire. Diagnosed at a young age, Nathan’s social difficulties were accelerated when his father, with whom he shared a special bond, was killed in a car accident. Nathan’s interest is mathematics and with Julie incapable of meeting his appetite for maths – whenever she tries he frequently reminds her that she is not clever enough – she engages former child prodigy Martin Humphreys to tutor him. Together, Nathan and Martin set their sights on the IMO in Cambridge. Continue reading
Director: Woody Allen
Starring: Cate Blanchett, Sally Hawkins, Bobby Cannavale, Andrew Dice Clay, Peter Sarsgaard, Louis C.K., Alden Ehrenreich
There are two types of Woody Allen films: those which are just for the Woody Allen fans and those which are for everyone. I suppose there is also a third group: those which kind of miss the mark and fail to please anyone, but that is forgivable for a filmmaker who has made at least one movie a year for the last four decades. His latest film, Blue Jasmine, is one for everyone due in no small part to a lead performance from Cate Blanchett that is really something quite special.
In a classic tale of riches to rags, we first encounter Jasmine as she arrives in a San Francisco to move in with her working class sister, Ginger. A former New York socialite, Jasmine lost everything – her home, her money, her lifestyle and her mind – when her investment banker husband was jailed for some Bernie Madoff-style dealings. While Jasmine formulates a plan to get her life back on track –she takes a computer course with the ultimate aim of studying interior design online – she causes considerable chaos in Ginger’s life.
Indebted to Tennessee Williams’ A Streetcar Named Desire, Jasmine, the latest in a long line of brilliant female characters written by Allen, is our Blanche DuBois. She is a delusional woman forced to move into her sister’s working class life, surrounded by brutish men and pining for her lost life of privilege. As with Blanche, we find ourselves simultaneously drawn to and repelled by Jasmine. On one level we sympathise with her. She has had the rug pulled out from underneath her and is clearly damaged. But as much as she is a victim of her husband’s crimes, she is also a victim of her own self-delusions. Whether it is turning a blind eye to her husband’s shonky dealings and infidelities or changing her name from Jeanette to Jasmine and devising a colourful story about how her mother gave it to her, Jasmine seems content both to be deceived and to deceive herself, and as such has no problem with being false in her engagement with other people.
While the supporting cast of Sally Hawkins, Alec Baldwin, Bobby Cannavale and Andrew Dice Clay is quite excellent, really, this film is all about Cate Blanchett. She is already an Oscar winner and considered among the finest actresses of her generation, but Blue Jasmine may just represent her best work to date. Blanchett’s performance is layered and multifaceted. Jasmine is at once fragile, vulnerable, arrogant and cruel. The film’s narrative structure jumps back and forward in time between Jasmine’s current situation in San Francisco, and her old life in New York, which means that rather than watching the progressive deterioration of a character, we are jumping back and forth to different points in that deterioration. We see in New York Jasmine evidence of the same insecurity and fragility which will overwhelms and then defines her in San Francisco.
Blue Jasmine doesn’t feel like a normal Woody Allen film. The working class setting doesn’t allow for the rapid, pseudo-intellectualism one usually associates with his dialogue, and while there are moments of humour, this is a serious story. But while it isn’t typical, it is none the less Allen – and Blanchett – in top form.
Rating – ★★★☆
Review by Duncan McLean