Destination Dewsbury


Would you pick these men up from the side of the road?

(2018) Comedy (Random) Matt Sheahan, David J. Keogh, Dan Shelton, Tom Gilling, Helen Rose-Hampton, Michael Kinsey, Kevin Dewsbury, Maurice Byrne, Denis Khoroshko, David McClelland, Leslie Davidoff, Michael Fawbert, Margot Richardson, Filip Mayer, Velton Lishke, Sharon Heywood, Sharon Spink, Val Punt, Lauren Woods, Graham Daw, Jane Hollington, Anna Dawson. Directed by Jack Spring

 

Some of my readers in their teens and twenties (assuming I have any) are going to have a hard time relating to this but the friends you are inseparable with in your youth tend to drift away as you get older. Very rare is the case where someone other than family is involved on a regular basis in your life from the time you’re in school to the time you’re middle aged. Still, the fact is that we bring our younger selves with us wherever we go and we tend to revert to them when in the company of friends from our youth. This is particularly true with men.

Peter (Sheahan) has watched his life collapse around him in a matter of a few days. His wife has essentially thrown him out, claiming he’s simply not man enough for her – and she has a point on that score. Peter, who is also our semi-reliable narrator, has a spine with the consistency of Jell-O. He is teaching school where he and his mates once attended and he is something of a joke.

That is, until Richard (Byrne) arrives in his classroom to tell him that his son is dying. Richard’s son Frankie (Kinsey) was something of a ringleader for the boys, by far the coolest of the lot and a good friend to them. Peter is shocked – he just spoke to Frankie a couple of months earlier until Richard gently reminds him that it was actually two years ago. In any case, Frankie won’t likely last the week and he wants to see his old friends again one final time.

Therefore, it is on Peter to get the band back together. He knows essentially where he can find them; Gaz (Shelton) has a young family with a daughter who is suspiciously dark-skinned (he and his wife are both white as a December snowbank) while Adam (Keogh) is a banker who is deep in debt to the Russian mob and has been rescued from suicide by Peter’s appearance. Adam is something of a human teakettle – always blowing up at any provocation real or imagined and who can’t complete a sentence without at least one F-bomb in it. He’s an aneurysm waiting to happen. Finally, there’s Smithy (Gilling), a portly man living with his mum who is reduced to speed dating but can’t escape his own awkward nature around women.

The crew decide to head up to Dewsbury, a town up north where Frankie has moved to. This being a comedy, you can bet that things won’t go anywhere near as planned – not even in the same country really, although British critics in their droll manor say that “mishaps ensue.” Those mishaps will include a dropped cell phone in a toilet overflowing with…well, you can fill in the blanks there. Also, a night at a swinger-oriented hotel which sends Peter screaming like a girl into the night. There are also Russian mobsters hunting down Adam with an eye for some spectacular violence, and a bus miscue that sends them careening off-course from the get-go. There is also a veritable cornucopia of bodily fluids and solids that are likely to send the four-year-old in you into helplessness. All that is missing is a sequence of fart jokes.

That kind of humor may not be your cup of tea unless you live with a bunch of toddlers, or essentially have no shame whatsoever. That isn’t the whole of the sort of humor you’ll find here but if you’re looking for wicked Oscar Wilde-type wit, you’re on the wrong bus. This is Benny Hill with an R rating and a penchant for toilet humor.

Initially I really found this unpalatable as the four friends are mainly stereotypes with little development and the humor is a little too low-brow for my taste but a funny thing happened on the way to a scathing review – the film got better. During the last half hour when the boys/men actually arrive in Dewsbury the movie abruptly shifts gears and we begin to see the people inside the stereotypes, particularly in the case of Adam who is devastated by his friend’s terminal condition. All the men seem to grow in some sort of way with the odd exception of Peter – the erstwhile protagonist and narrator – who seems the same essential sad sack he was when the opening credits unspooled. Still, the director and writers manage to explore the nature of male bonding as we age which is a worthy subject indeed.

There are a couple of fight scenes involving the mobsters that take place in dimly lit environments which makes it hard to figure out what’s going on, but other than that the movie is well-shot and makes good use of the locations in suburban England. The film ends on a sentimental albeit bizarre note but nevertheless it’s a good reminder that a good journey is all about reaching your destination – but it is made all the better in the company of friends.

REASONS TO SEE: Improves dramatically during the last third.
REASONS TO AVOID: Too much toilet humor and the fight scenes are badly lit.
FAMILY VALUES: There is plenty of profanity, violence and some sexual content.
TRIVIAL PURSUIT: Spring was only 21 when he directed this, his first feature film.
BEYOND THE THEATER: Amazon,  Fandango Now, Google Play, iTunes, Redbox, Vudu, YouTube
CRITICAL MASS: As of 7/15/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: The Big Chill
FINAL RATING: 5.5/10
NEXT:
Wild Rose

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Bob Fosse: It’s Showtime!


All that jazz.

(2019) Documentary (VisionBob Fosse, Jason Solomons, Merritt Moore, Will Young, Vanessa Fenton, Geraldine Morris, David Benedict, Louise Redknapp. Directed by Lucia Helenka

 

Those who love musicals view the name of Bob Fosse with reverence. He may well be the greatest choreographer in Broadway history and remains to this day the only person to win a Tony, an Emmy and an Oscar in the same year (1973).

This British documentary examines Fosse both professionally as the innovative choreographer he was and personally, pulling no punches regarding the self-destructive tendencies he possessed. His semi-autobiographical film All That Jazz should give viewers an idea of the demons that haunted the man.

The footage of the films, television shows and Broadway musicals that Fosse was involved with is the best part of the film. The filmmakers and commentators do a good job of explaining how precisely that Fosse innovated dancing in musicals, with some very intuitive points about how his own body image influenced his choreography. For example, Fosse was born pigeon-toed which led to his celebrated turned-in knees style; his own discomfort with his baldness led him to using bowler hats in his choreography. To say that Fosse’s choreography was stylized is an understatement; there was a lavishness to his movements, an almost haughtiness to the way the dancers presented themselves.

American audiences may find the use of talking heads in the film to be somewhat dry. While the professions of those making the commentary are listed (film critic, actor/singer and so on), it is never really established what makes these folks expert enough in the life and choreography of Fosse to warrant inclusion in the film. They do talk intelligently about the subject but as someone who is relatively unfamiliar with the particulars of his work, it’s hard to know how valid the commentary is.

Fans of the late choreographer will no doubt find this fascinating, while tyros like me may be less enthusiastic. Clocking in at just over an hour, the film at least won’t take up an enormous amount of your time. I must say, however, that I learned more about Fosse from watching the dance clips than I did listening to the commentary.

REASONS TO SEE: The dance footage is a reminder of how great a choreographer he was.
REASONS TO AVOID: Relies far too much on talking heads.
FAMILY VALUES: There is some incidental smoking.
TRIVIAL PURSUIT: The film debuted on the British arts-oriented television channel Sky Arts in May 2019.
BEYOND THE THEATER: Amazon, Fandango Now, Google Play, Vimeo
CRITICAL MASS: As of 6/14/19: Rotten Tomatoes: No score yet: Metacritic: No score yet.
COMPARISON SHOPPING: If the Dancer Dances
FINAL RATING: 5/10
NEXT:
Ice on Fire

All is True


Will Shakespeare and his wife Anne share a tender moment.

(2018) Biographical Drama (Sony Classics) Kenneth Branagh, Judi Dench, Ian McKellen, Kathryn Wilder, Jack Colgrave Hirst, Eleanor de Rohan, Gerard Horan, Lydia Wilson, Jimmy Yuill, Michael Rouse, Harry Lister Smith, Hadley Fraser, Sam Ellis, Kate Tydman, Phil Dunster, Doug Colling, Freya Durkan, Flora Easton, Matt Jessup, Sabi Perez, Lolita Chakrabarti. Directed by Kenneth Branagh

William Shakespeare is possibly the most famous writer who ever lived but even given that remarkably little is known about his personal life. What is known for sure is that in 1613, following a performance of Henry VIII in which a prop cannon misfired, setting fire to the Globe Theater and burning it to the ground, William Shakespeare left London for good and returned home to Stratford-Upon-Avon, never to write again. It is also known this was 17 years after his only son Hamnet (Ellis) died tragically at the age of eleven.

=Kenneth Branagh is widely known to be one of the greatest Shakespearean actors of the modern era, having brought the Bard to the screen in such films as Much Ado About Nothing, Henry V, Love’s Labour’s Lost, As You Like It and Hamlet. For someone who so clearly loves the work of Shakespeare, it musts be tantalizing to say the least to speculate about his life. Why did he stop writing in 1613? What was his life like in Stratford after his retirement?

Branagh plays the Bard which must have been both daunting and deliciously illicit (sort of like doing an impression of a favorite teacher) pottering about the garden of his Stratford home where he means to create a memorial garden for his son. The return home has brought him no peace; he continues to mourn for a son he never really knew (Shakespeare spent most of his time in London and rarely visited home) 17 years after the fact. His sharp-tongued wife Anne (Dench), many years his senior (actually merely eight years in reality) has relegated him to the second-best bed in the house, refusing to sleep with a husband who is more a stranger than a spouse. His older daughter Susannah (Wilson) is married to a rigid Puritan physician (Fraser).

His younger daughter Judith (Wilder), Hamnet’s twin, shows nothing but contempt for her father and wishes fervently he had stayed in London. Raised by her mother, she seems as strong-willed and as iron-tongued as Anne. Shakespeare is haunted by the ghost of Hamnet and by his own failings as a father and a husband while coping with the fame that refuses to leave him alone.

The story is largely fiction although the salient facts are there; Shakespeare’s retirement in 1613, the death of his son, the loss of the Globe Theater in a catastrophic fire. The rest is invention by Branagh and writer Ben Elton. Serious Shakespearean scholars will probably raise an eyebrow or two at the creative licenses taken here but for most of us, it’s all good.

In many ways Branagh was born to play Shakespeare and he captures the wit and humanity that the writer displayed in his work. Surely this is the Shakespeare we all imagined he’d be: distracted, unable to cope with the tragedies in his life, largely lost without the outlet of writing. Branagh also makes his Will Shakespeare a product of his times; a bit misogynistic – unable to grasp the concept that the true inheritor of his talents might have been Judith, the distaff twin of Hamnet upon whom he place all his hopes of having a successor – and prone to being a bit self-absorbed. Branagh humanizes the Bard and makes him relatable.

Dench, as always, rises to the occasion, making Anne Hathaway Shakespeare a reflection of herself and the kind of wife you’d figure Shakespeare would have. She holds her own with Branagh – or rather, he with her – and the two are electric whenever appearing as a couple onscreen. Some of the most entertaining scenes in the movie are the two sparring with one another.

Cinematographer Zac Nicholson makes this a very pretty film to watch, from the recreations of Elizabethan England to the lovely bucolic English countryside which continues today to be a charming film locale. Nicholson relies on backlighting to create spectacular images of Shakespeare in Country. It’s a beautiful looking film which is never a bad thing.

There is a melancholic atmosphere here which is at times laid on a bit too thickly; Shakespeare is certainly in mourning for his son but for also the Globe and in many ways, for himself. The humor isn’t especially over-the-top and has a gentle touch (for the most part) although at times the acid tongue of Anne Hathaway gibes rise to some really potent zingers. While the dialogue can get a bit overindulgent at times (and there are an awful lot of Shakespearean references that are going to go over the average audience member’s head) there is nonetheless a charm here that made this one of my favorite films at the recent Florida Film Festival. I’m looking forward to seeing it again at it’s upcoming Enzian run.

REASONS TO SEE: Branagh and Dench deliver wonderful performances. The cinematography is stunning. The humor is nice and gentle. The story is oddly affecting.
REASONS TO AVOID: The dialogue is a bit dense in places.
FAMILY VALUES: The thematic elements are adult, some sexual references and a bit of profanity.
TRIVIAL PURSUIT: Screenwriter Ben Elton was also one of the main writers on the Blackadder series, which frequently spoofed Shakespeare’s plays.
CRITICAL MASS: As of 5/12/19: Rotten Tomatoes: 73% positive reviews: Metacritic: 59/100.
COMPARISON SHOPPING: Shakespeare in Love
FINAL RATING: 9/10
NEXT:
Ode to Joy

Teen Spirit (2018)


Who said pop stardom isn’t easy?

(2018) Musical (Bleecker Street/LD Entertainment) Elle Fanning, Zlatko Buric, Rebecca Hall, Agnieszka Grochowska, Archie Madekwe, Millie Brady, Vivian Oparah, Marius de Vries, Elizabeth Berrington, Olive Gray, Andrew Ellis, Ruairi O’Connor, Jordan Stephens, Tamara Luz Ronchese, Clara Rugaard, Daisy Lowe, Ursula Holliday. Directed by Max Minghella

 

I think it’s fair to say (and I think that most teens and millennials would agree) that the world is constructed to kill dreams. Those that want to be creative, expressive or otherwise different are discouraged; laboring at some soul-killing task over and over again is what’s expected. Nobody in their right mind wants to do that for the rest of their lives; some really don’t have much of a choice. Those that have talent though, we seem to spend an inordinate amount of time discouraging it.

Violet (Fanning) lives on the bucolic Isle of Wight off the coast of England, a place forever immortalized by the Beatles in ”When I’m Sixty-Four” thusly: “Every summer we could rent a cottage on the Isle of Wight (if it’s not too dear)” as well as a famous pop festival that took place there. Musically, that’s pretty much it for the Isle of Wight. It does possess a large Polish population of which Violet and her mother (Grochowska) are members of. Violet goes to school (she’s 17 years old), takes care of the horse that she rides whenever she can, works as a waitress in a pub after school and occasionally sings in a different pub; it is the last of these that mum disapproves of as being impractical so Violet has to do it on the sly. However, she does meet an alcoholic ex-opera singer who offers to be her manager so there’s that.

The family is in pretty dire financial straits; the horse gets repossessed because they can’t afford to pay for it any longer. Violet’s life is going exactly nowhere and she is frustrated as anyone would be. Then, a bit of excitement; the American Idol-like pop music competition show Teen Spirit is holding auditions in her town for the very first time and nearly everyone in school is trying out. Shy Violet decides to try out and to nobody’s surprise, she is selected for the local competition. To nobody else’s surprise, she ends up going to the finals in London which are televised. However, she needs a parent or guardian to sign off on her participation which her mother will never do so Violet remembers Vlad (Buric), the alcoholic ex-opera singer and puts him to work as her manager/instant guardian.

The rest of the movie you can pretty much figure out for yourself. There are a couple of swerves that aren’t particularly hard to see coming as well as some predictable moments of fame going to Violet’s head and a few heart-warming moments in between all the gaudily shot music videos of her performances, all bathed in pink and blue neon and looking like a New York art installation from the early 90s. That’s not bad in and of itself but it does kind of scream “LOOK AT ME! LOOK AT ME!”  in an unnecessarily loud cinematic voice.

Fanning is a talented performer as an actress and not a half-bad singer to boot but her character, who is supposed to be terribly shy and innocent (except when she’s not) is so passive and bland that it’s hard to figure out why she would want to stand up in front of a television audience and pour her heart out onstage. We never get a sense as to why Violet is motivated to become a singer other than she likes doing it.

The songs that Violet and her competition perform are mainly covers of iconic pop songs over the last 20 years, many of which have to do with female empowerment which is part of the ostensible thrust of the film, although one has to consider the fact that Violet and her mother struggle mightily on their own but once a man comes in to the picture for guidance success is theirs. It seems quite at odds with the musical message the film seems hell-bent on sending.

But even though Violet is more vanilla, the relationship between her and Vlad is at least genuine and comprises the heart and soul of the film. Even though Vlad is a polar opposite to Violet, his gruff exterior masks a teddy bear interior that genuinely cares for Violet and wants her to succeed not for his own aggrandizement but for hers.

The performance footage is mainly over-produced; it’s telling that the most genuine and affecting performance is when Violet dances and sings No Doubt’s “Just a Girl” in the privacy of her own bedroom; it’s raw and feels more authentic. That seems to be one of the few moments when we get a glimpse of who Violet truly is. We could have used more of them.

At the end of the day, this movie comes down to whether or not you like American Idol. If fresh-faced young people performing covers of familiar songs for the right to become a pop star in their own right is something that thrills you, chances are you’re going to love this film. If you find American Idol to be a cynical means of keeping potential pop stars as disposable product rather than genuine artists, you probably won’t care much for this film. Me, I tend to lean towards the latter but that doesn’t mean you won’t find something in the film to like.

REASONS TO SEE: The relationship between Violet and Vlad is believable and at the center of the film.
REASONS TO AVOID: The story needs more fleshing out.
FAMILY VALUES: There is some sexually suggestive content as well as depictions of teen drinking and smoking.
TRIVIAL PURSUIT: There are parallels to the film Flashdance and the theme from that film is even used in this one.
CRITICAL MASS: As of 4/22/19: Rotten Tomatoes: 70% positive reviews: Metacritic: 57/100.
COMPARISON SHOPPING: American Dreamz
FINAL RATING: 5/10
NEXT:
Marching Forward

Adult Life Skills


Jodie Whittaker feels at home in the shed that is as cluttered as the TARDIS.

(2016) Dramedy (Screen Media) Jodie Whittaker, Lorraine Ashbourne, Brett Goldstein, Rachel Deering, Eileen Davies, Alice Lowe, Edward Hogg, Ozzy Myers, David Anderson, Andrew Buckley, Christian Contreras, Alfie Wheeler. Directed by Rachel Tunnard

 

In 2018, British actress Jodie Whittaker made history becoming the first female Doctor in the beloved sci-fi series Doctor Who. Before that, she was largely unknown other than appearances on the British TV show Broadchurch and the independent sci-fi flick Attack the Block. She also did indie films like this one which opened in the UK two years ago.

Anna (Whittaker) is days away from her 30th birthday and she’s stuck in a garden shed. Not literally; she’s been using it as a studio for her short films of her thumbs made up as astronauts on a doomed space trip in which they are crashing into the sun. Life must feel a lot like that to Anna; she used to make little videos with her twin brother Billy (Hogg) until he passed away unexpectedly. She essentially lives in the shed which sits on her mother’s property in West Yorkshire. Occasionally, she forgets to bring in clean clothes with her and so has to make a mad dash to the house half-naked to get some.

This has been her living arrangement for some 18 months since her brother died and her mum (Ashbourne) is sick of it. She desperately wants her remaining daughter to move on and start living her life again. Anna’s grandmother (Davies) is a little less frantic about it than her daughter who seems bound and determined to make matters worse but still she knows her granddaughter needs to make changes, although the grandmother thinks a good shagging is all Anna needs.

Brendan (Goldstein), a work colleague (Anna works at an outdoor activities center part time) would dearly love to supply Anna with just that but Anna has decided in her head that Brendan is gay. Brendan is not but he is a realtor who is enlisted by Anna’s mum to find a cheap flat for her daughter which turns out to be a disaster; most of the properties that Anna can afford are absolutely hideous.

When Anna’s best friend Fiona (Deering) returns from travelling, she also tries to kickstart Anna’s life with some success but things really start to change when she meets Clint (Myers), a young cowboy-obsessed boy who is just as quirky as Anna who is undergoing a similar trauma to the one that Anna suffered and the two begin to identify with each other but Anna is an expert at pushing people away. Will she ever find her way back to the land of the living?

The film not only serves as a treatise on grief but also as a paean to the deliberately weird. Nearly all the characters here are off-kilter in one way or another not unlike certain American indie films that star Greta Gerwig. Like those films, sometimes the quirkiness wears on the viewer and becomes almost forced but the good news is that it does only to a lesser extent. However, the thick Yorkshire accents used by the character can be incomprehensible at times; home viewers should definitely watch this with subtitles turned on. The dialogue though when you can understand it is actually quite clever; lines like one in which Fiona, exiting a pub, exclaims “It’s like The Wicker Man in there” can be quite brilliant.

A lot of Whovians are going to want to see this because of Whittaker and to be honest her performance is worth seeing whether you’re a fan of the series or not. It’s a very different role and some of her fans from the venerable BBC sci-fi show may not be able to accept her in a role like this. Anna is far from the self-assured and brilliant Doctor; she is a woman-child coping with an overwhelming tragedy and not always doing it well. In the hands of a lesser talent viewers might just shut down watching Anna make terrible choices and do things that are weird in an eye-rolling sense but Whittaker’s charm carries the day. Like other actors who have taken on the role of the Timelord, she has enough screen presence to continue with a career that transcends the TARDIS; I wouldn’t be surprised if she eventually gets lead roles in franchise films or maybe even some Oscar bait films. She’s truly an incredibly versatile talent.

Like a lot of British films, the soundtrack is absolutely brilliant. The supporting cast is solid and the production design gives the film a cluttered but lived in tone. At the end of the day my recommendation is going to depend on your ability to tolerate quirkiness; those with low tolerances should probably skip this one but those who don’t mind a little off-beat with their independent cinema may well find this delightful.

REASONS TO GO: The film is blessed with a terrific soundtrack. Whittaker is sublime in a very different role.
REASONS TO STAY: The film rapidly goes from quirky to annoying. The dialogue is occasionally incomprehensible.
FAMILY VALUES: There is a fair amount of profanity as well as one sexual scene. There are also some fairly adult themes.
TRIVIAL PURSUIT: The feature film is based on a 2014 short that also starred Whittaker.
BEYOND THE THEATERS: Amazon, iTunes, Vudu
CRITICAL MASS: As of 1/19/19: Rotten Tomatoes: 74% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Rabbit Hole
FINAL RATING: 6.5/10
NEXT:
Burning

Swimming with Men


Rob Brydon is reaching for something.

(2018) Comedy (Sundance Selects)  Rob Brydon, Rupert Graves, Thomas Turgoose, Jane Horrocks, Adeel Akhtar, Jim Carter, Daniel Mays, Nathaniel Parker, Ronan Daly, Chris Jepson, Spike White, Robert Daws, Charlotte Riley, Aschlin Ditta, Harry Demmon, Andrew Knott, Christian Rubeck, Orlando Seale, Luca Ribezzo, Margot Przymierska, Denise Stephenson. Directed by Oliver Parker

 

We all need to blow off steam. Some do it by playing video games. Others do it with hobbies like cooking, gardening and so on. Some self-medicate while others go the sporting route. Some prefer physical exertions; running, working out or swimming.

Eric Scott (Brydon) is an accountant who is spiraling into crippling depression. His job is as boring as you might guess it is, his teenage son Billy (White) has little use for him (as teenage sons will do) and he suspects his wife Heather (Horrocks) who recently was elected to the borough council of having an affair with her obsequious boss (Daws).

Eric waits for six o’clock to check out of life for a little bit, heading down to the local municipal pool to swim laps and sometimes slip to the bottom to drown out the noise of his phone ringing endlessly, no pun intended. There he meets a group of seven men who get together to practice a sport men generally shy away from: synchronized swimming.

Yes, it’s an Olympic sport but only for the ladies. I think men are mainly confounded by the concept of working and moving in unison to create something beautiful. For the most part, the guys that Eric hooks up with – depressed Kurt (Akhtar), confidence lacking Luke (Graves), petty convict Tom (Turgoose), recently widowed Ted (Carter), non-talkative Silent Bob (Jepson), The New Guy (Daly) who refuses to give his name, even though he’s been part of the troupe for more than a year, and frustrated Colin (Mays).

Pool manager Susan (Riley) who knows something about synchronized swimming since she’s dating the captain of the Swedish team, sees something in these middle-aged, paunchy non-athletes. She endeavors to train them, thinking that they can represent Great Britain at the unofficial world championships (and yes, that’s really a thing) in Milan. The men other than Luke (who has a sweet on for the taken Susan) are a bit reluctant but they decide to go for it.

There’s nothing easy about it though and the men find themselves suspecting they are in over their heads. In the meantime, Eric’s marriage is continuing to crumble at an accelerating rate and work has gone from boring to irrelevant. Still, now he has something to believe in – if only his team can believe in each other.

Brydon is in many ways a poor man’s Hugh Grant; he’s a very handsome man who somehow manages to project an almost hangdog expression. He’s the anchor for the movie in more ways than one. I’ve enjoyed him as Steve Coogan’s second banana in the Trip movies but he’s not here doing impressions or wacky voices but relying on his charm and his comic ability and there’s more than enough here to carry the film. That’s a good thing because for most of the first part of the film Eric is quite the jerk.

The rest of the cast, mainly acclaimed British character actors and veterans of British television, acquit themselves well although their parts are mainly one-dimensional. It’s actually a little comforting that sort of thing happens in the UK as well as here. Anyway some of the characters could have done with a bit more depth.

Not all the comedy works and the end is more than a little bit predictable but this is a movie with a whole lot of heart and charm and while critics tend to grouse about movies like this being emotionally manipulative (which never fails to amaze me – all films are to some extent), this one found it a nicely made movie that gave me enough of the warm fuzzies to make it more than worthwhile.

REASONS TO GO: The concept is really nice. The ending is not a shocker but still heartwarming.
REASONS TO STAY: The supporting characters lack depth even though they are well-acted.
FAMILY VALUES: There is profanity, some brief nudity and sexual references.
TRIVIAL PURSUIT: The Swedish men’s synchronized swimming team was played by the actual Swedish national swimming team. This film is loosely based on their story.
BEYOND THE THEATERS: Amazon, Fandango Now, Google Play, iTunes, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 12/8/18: Rotten Tomatoes: 47% positive reviews: Metacritic: 44/100.
COMPARISON SHOPPING: Man on the Dragon
FINAL RATING: 7.5/10
NEXT:
Snowflake

The Mercy


There is no loneliness greater than being alone at sea.

(2018) Biographical Drama (Screen Media) Colin Firth, Rachel Weisz, David Thewlis, Mark Gatiss, Simon McBurney, Adrian Schiller, Andrew Buchan, Jonathan Bailey, Anna Madeley, Ken Stott, Tim Downie, Genevieve Gaunt, Sebastian Armesto, Martin Marquez, Finn Elliot, Kerry Godliman, Kit Connor, Eleanor Stagg, Simon Chandler, Greg Hicks, Zara Prassiinot. Directed by James Marsh

 

The sea is an unforgiving mistress. She tolerates no mistakes, no miscalculations, no regret. When you are alone at sea, there is no one more alone in the world, to paraphrase Sir Francis Chichester, the first man to circumnavigate the globe by himself with only one stop (in Australia).

Now, at a large boating show in England, Chichester (McBurney) is on hand to announce a competition sponsored by the Sunday Times; a race around the world by boat with no stops. In 1968, it was a grueling, nearly impossible feat. There was no resupplying your ship – you had to make due with what you brought with you. There was no stopping to make repairs; if anything broke down, it was up to you to fix it. There was no support system other than the voices you heard on the radio. You were well and truly alone.

To nautical inventor and weekend sailor Donald Crowhurst (Firth) this sounded like just the challenge he needed. The creator of a pre-GPS electronic locator device known as the Navicat, he is at the boat show where Chichester makes his announcement and the adventure takes hold of his imagination. While among friends, he blithely announces that he has registered for the race which is news to his wife Clare (Weisz). She’s more than a little surprised; the family has a comfortable middle class existence in the coastal town of Teignmouth. They have three children who absolutely worship Daddy. Why on earth would he want to risk his life to be away from his loving family for months?

But Donald is determined to see this through. He is designing a trimaran, a catamaran with an extra float to give it more buoyancy and speed. Donald is certain with the safety devices of his own invention that he can win the race. However, delays in building the boat (many of them due to adding the new technology) create frustration for Crowhurst and his main investor, Stanley Best (Stott), an RV salesman (called caravans in England) and Crowhurst’s publicist Rodney Hallworth (Thewlis).

Hallworth has been busy creating an image of Crowhurst as a plucky English hero, a weekend sailor braving the dangerous waters of the Southern Oceans which frightened even Chichester. He has become a media darling but the deadline for setting sail is fast approaching and despite Crowhurst’s notoriety and plethora of sponsorships, he can’t speed up the process of building the boat.

So he launches on the very last day possible and it becomes very clear that the boat, named the Teignmouth Electron after his marine electronics business, is not nearly ready – it’s barely even seaworthy – and his gumption to make repairs at sea prove to be woefully optimistic. As he approaches the tip of South America where Cape Horn awaits to deliver him into the South Pacific, he realizes that he’ll never survive the journey. If he returns however he will forfeit his business, his home and nearly everything he has, plunging his family into destitution. He is left with an impossible choice…until he comes up with a creative solution.

This is based on a true story, one which is fairly well-known in sailing circles as well as in Great Britain where Crowhurst remains fairly well-known. To most Americans however, the details of the story will be unfamiliar so there is a good deal I’m leaving out. What I don’t have to avoid talking about is the performances of three of the best actors of their generation in England. Firth and Weisz, both Oscar winners, and Thewlis who has been nominated for a Golden Globe, all deliver outstanding performances. Thewlis, as the brash ex-crime reporter who is bound and determined to make Crowhurst a household name (and succeeds all too well) is perhaps the most noticeable of the three.

Both Weisz and Firth understate their performances quite a bit, especially Weisz who is mainly forced to keep a stiff upper lip in public but privately is terrified that she’ll never see her husband alive again. She shows some backbone, addressing the media horde camped at her front door near the end of the film and it’s an incandescent scene and shows just how powerful an actress Weisz truly is.

But for me, the star is Firth. He plays a good man, a fine husband and devoted father who talks himself into a situation that leaves him clearly over his head. We watch as he makes decisions that seem logical at the time but that lead him deeper down a path of no return, then watch as alone at sea those decisions not only come back to haunt him but prey upon his mind like voracious tigers. It’s a chilling performance, one of Firth’s best which is saying something.

Another thing; the sound effects are absolutely amazing, from the creaking of the boat, the groaning of the metal, the waves smashing into the hull…all amplified and all making the experience so much more realistic. You get a sense of why Crowhurst’s ordeal having to listen to that non-stop for months. That alone makes this worth seeing in a theater, if it plays anywhere near you.

Marsh stumbles a little when it comes to building the dramatic tension. Although you get a sense of the wheels turning and forcing Crowhurst down a path that will lead him to face impossible choices, when it finally comes to the denouement it almost feels anti-climactic.

This is a movie that if it had been picked up by a major we would be hearing about for the performances of the three leads, possibly with Oscar ramifications. Even though it is unlikely to get distribution in most places, this is a truly fine film that deserves to be seen. Keep an eye out for it at your local art house or on your favorite streaming service. You won’t be sorry.

REASONS TO GO: The sound effects really enhance the story nicely. It’s a compelling story, compellingly acted by a terrific cast.
REASONS TO STAY: The dramatic tension isn’t as great as it could have been.
FAMILY VALUES: There is profanity and some mature themes.
TRIVIAL PURSUIT:  The man playing the mayor of Teignmouth is the son of the man who was actually mayor at the time of Crowhurst’s voyage; the son has himself been elected mayor of Teignmouth twice.
CRITICAL MASS: As of 12/5/18: Rotten Tomatoes: 74% positive reviews. Metacritic: 59/100.
COMPARISON SHOPPING: All is Lost
FINAL RATING: 7.5/10
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