Lancaster Skies


Bombers fill the night of Lancaster skies.

(2019) War (Shout! FactoryJeffrey Mundell, David Dobson, Kris Saddler, Joanne Gale, Vin Hawke, Steve Hooper, Josh Collins, Callum Burn, Steven Hooper, Tom Gordon, Henry Collie, Tony Gordon, Leila Sykes, Eric Flynn, Roger Wentworth, Oria Sanders, Fiona Kimberley, Matt Davies, Bridgette Burn, Elliott Strother, Bryony James, Robert Francis, Tina Hodgson. Directed by Callum Burn

 

I take no joy out of writing a negative review. I know that most people go into making a movie with the best intentions, but things happen – sometimes there’s studio interference, sometimes the cast and crew are inexperienced, other times things just don’t click for whatever reason. I understand that there are human beings behind every movie, some having put all their passion into a project that for whatever reason just didn’t click with me; and that’s not on them so much as it is on me.

Once in a while, though, it is clear that a filmmaker’s reach exceeded his grasp. He or she perhaps had a good story and a decent cast, but budget limitations kept him/her from making the movie they wanted to make. I suspect that’s the problem here.

Lancaster Skies is meant to be a World War II epic about an English bomber crew dealing with the loss of their skipper (Tom Gordon). They are having to cope with the death of a comrade-in-arms, but also the arrival of their new captain, Douglas Miller (Mundell), who is dealing with a tragedy of his own and has become closed-off, stand-offish and generally a bit of a pill. At first, he is oil and water with the veteran crew. Only co-pilot Georgie Williams (Dobson) seems to be friendly towards him at all – well, there’s always comely WAAF Kate Hedges (Gale) who has taken a shine to the handsome but taciturn Miller.

Miller, a former Spitfire pilot, is chomping at the bit to take the fight to the Germans. With the survival rate of bomber crews right around 50% (Williams illustrates that in a bar brawl by flipping a coin a la Harvey Dent), this would seem to be on the surface a little crazy, but slowly Douglas begins to warm up to his crew and they to him. But, at last, they’ve finally gotten a mission to fly. With a tail gunner (Saddler) prone to freezing up at the worst possible moment, and a co-pilot with a devastating secret of his own, this crew will need to pull together if they are to survive their next mission.

I don’t really know how to begin to sort this all out. It is simply poorly done on every level. On a technical level, the color fades into almost black and white but I believe is just washed out color. It does so without warning and goes from color to washed out within even the same screen. I’m not technically proficient enough to identify whether it was a camera thing, a processing thing or a digital thing, but I can say for certain that it was an annoying thing.

The only thing stiffer than the dialogue is the actors saying it; if their upper lips were any stiffer, they would have been shot up full of Novocain. There are a lot of characters in the film and I couldn’t always differentiate between them. At length, I just gave up.

I could go on, but I think that for now, that’s enough. I do give director Callum Burn props for having the moxie to try and make a movie of this scope on a budget that was right around £80,000 – a microscopic amount compared to even most independent films. The movie wasn’t completely without merit and it is a story that deserves to be told, but perhaps Burn should have waited until he could get himself a budget to tell the story properly.

REASONS TO SEE: The title is evocative.
REASONS TO AVOID: Stiff characters and even stiffer dialogue. Inexplicably drops in and out of color.
FAMILY VALUES: There is some war violence.
TRIVIAL PURSUIT: The film was shot in five different shooting blocks over a two-year period.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 5/9/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Memphis Belle
FINAL RATING: 3/10
NEXT:
Jinn (2018)

Postcards From London


I am young and, oh, so pretty…

(2018) LGBT Drama (Diablo/StrandHarris Dickinson, Jonah Hauer-King, Alessandro Cimadamore, Leonardo Salerni, Raphael Desprez, Jerome Holder, Leemore Marrett Jr., Silas Carson, Stephen Boxer, Leo Hatton, Emma Curtis, Ben Cura, Lew Hogan, Archie Rush, Richard Durden, Johanne Murdock, Giles New, Shaun Aylward, Rhys Yates, Georgina Strawson. Directed by Steve McLean

 

Steve McLean loves him some art, and that love is really what drives Postcards From London. Starring Beach Bums wunderkind Harris Dickinson as Jim, a stupendously naïve 18-year-old kid from Essex who goes to Jolly London and Soho specifically to chase adventure and mystery, he ends up being taken under the wing of four male escorts (Hauer-King, Cimadamore, Salerni, Desprez) who call themselves “The Raconteurs” and supply older, more discerning male clientele with post-coital conversation about literature and art.

The movie’s highly stylized look features plenty of neon and is all apparently shot on sound stages – not a single scene apparently takes place when the sun is shining. At least, we find no evidence of it. Dickinson did the callow youth thing about as well as anybody at that stage of his career, but he is given little more to work with than that his character is afflicted with Stendhal syndrome, a rare disease that causes the afflicted to lose their consciousness in the presence of beautiful art – weak in the presence of beauty, indeed. While swooning, Jim often imagines himself as part of the art, posing for Caravaggio (Cura) with his friends. These scenes are the most imaginative and notable but sadly, the film too often into pretension over its 90-minute run time.

This is certainly a work of passion which despite the fact that sex is a large part of the atmosphere, is remarkably coy about showing any. While the homoeroticism may titillate some, it is no more than you would find in the average drag show when push comes to shove. Dazzling to look at, this is indeed a film that takes the adage “live fast, die young and leave a beautiful corpse” a bit too closely to heart.

REASONS TO SEE: There’s a semi-whimsical sense of humor.
REASONS TO AVOID: Tries too hard to be different.
FAMILY VALUES: There is a good deal of sexual material, some violence and a fair amount of profanity including sexual references.
TRIVIAL PURSUIT: This is the second feature McLean has directed; his first was in 1994 (Postcards From America) marking a 14-year differential between debut and sophomore effort.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Netflix, Vudu, YouTube
CRITICAL MASS: As of 5/6/20: Rotten Tomatoes: 53% positive reviews, Metacritic: 42/100
COMPARISON SHOPPING: Trois: The Escort
FINAL RATING: 6/10
NEXT:
Working Man

Cotton Wool


Family outings are the best.

(2017) Drama (Cherwell) Leanne Best, Crissy Rock, Kate Rutter, Max Vento, Gemma North, Katherine Quinn, Jason Lamar Ricketts, Emma Charlotte Heyes, Caragh Casserly, Olivia Hargreaves, Megan Grady, Lulu Mann, Will Clay, Edward Buckley. Directed by Nicholas Connor

 

Life can change in the space of a heartbeat. One moment, everything is normal and business as usual. The next, everything is different and our roles have been redefined, not only in regards to each other but in regards to ourselves.

Rachel (Best) is a singe mum in the North of England who works hard to put food on the table and care for her children; nine-year-old Sam (Vento) whom she dotes on, and teenage Jenny (Rock) whom she butts heads with. Remember that moment-to-moment thing? She’s taking laundry downstairs, trying to get her kids shooed off to school and herself to work when she collapses, suffering a massive stroke, Sam begging her to stop being a monster, clinging to the hope that his mum is trying to mess with him rather than think that something is seriously wrong which he knows deep down is true.

When Rachel comes home from the hospital, it becomes the responsibility of Jenny and Sam to take care of her. She has gone from taking care of her kids to being cared for by them. At first, Jenny wants no part of it. She wants nothing more than to be a normal teenage girl, hanging out at the pub with her friends. She abrogates her responsibility, leaving even more of the burden on Sam’s shoulders and fortunately Sam comes through, helping his mum with phonetic exercises trying to get a semblance of speech back for her and more importantly, having the presence of mind to summon help when his mother has a second mini-stroke.

A family friend (Rutter)) sees what’s happening and feels the need to intercede with Jenny, who is absolutely terrified when she realizes how easily her mum could have lost her life. The thought causes Jenny to reconsider her priorities.

The movie is ultimately heartwarming, but it underscores a serious problem with the National Health Service; there are nearly a quarter million caregivers in the UK who are children and of those, a significant percentage is under nine. I’m not sure what the figures are like here in the States, but I can bet that they are just as bad or worse, considering that we don’t have much of a healthcare system.

Best gives an outstanding performance here; the terror in her eyes as she falls to the floor, her last coherent words being “Oh, no!” as she realizes that something terrible is happening to her. Later on, her frustration has to be portrayed largely with her eyes and through tears, reduced to using a speech machine that in a flat operator-like voice says “I don’t feel like a woman anymore” as she confides to the social worker, at last being forced to ask her for help going to the loo.

The movie does get a bit maudlin at times as Sam, well-played by child actor Max Vento, is a bit too good to be true and Jenny a little bit too self-centered to begin with. There is a very real issue here, but the thirty-seven-minute running time isn’t really sufficient time to explore it properly. This is the rare case of a film not having enough time. As a result, Connor (who also wrote the film) is forced to use a cudgel rather than a scalpel.

This short has completed a successful festival run and should be on Amazon shortly. It is well worth seeking out.

REASONS TO SEE: Points out a rather large crack in the NHS that people fall through.
REASONS TO AVOID: Sometimes gets a little maudlin.
FAMILY VALUES: Perfectly suitable for all family members.
TRIVIAL PURSUIT: Best also played the title role in The Woman in Black 2: Angel of Death.
CRITICAL MASS: As of 4/24//20: Rotten Tomatoes: No score yet. Metacritic:  No score yet
COMPARISON SHOPPING: The Big Sick
FINAL RATING: 6.5/10
NEXT:
Robert the Bruce

They Shall Not Grow Old


The Great War, made living once again.

(2018) Documentary (Warner Brothers)  No cast listed.  Directed by Peter Jackson

 

When we think of Peter Jackson, we mostly think of Middle Earth. Some of his fans are aware, however, that he is a World War I buff, a war that his grandfather fought in and who died of injuries sustained in the war before little Peter was born. So when the Imperial War Museum offered to allow him to make a documentary using their film archives he jumped at the chance.

What has resulted is nothing less than an epic documentary, but this isn’t a typical “How the War was Won” informational film with maps and narration. This is the stories of the soldiers who fought the war, in their own words (taken from audio interviews decades after the fact) on footage that has been restored from jerky 18-frames-per-second hand-cranked jerkiness to smooth 24-frames-per-second realistic motion. He has also digitally colored the film, bringing depth to the faces and making the war something less from the dusty history books and more real and immediate for audiences.

Initially released in 3D IMAX, it is available at home now and in a lot of ways, it is less distracting to watch it from your couch than in a big IMAX seat with all the overpowering sound, even though the sound is part of the realism here. To be honest, I got lulled a bit during the middle as the film stretches on. I like to think of myself as a history buff but at times even I found it tedious, although it’s possible that when I saw it I was on the tired side which may have impacted my enjoyment of it.

Still, this is a document that comes as close to making the viewer a part of history as I think it is currently possible to become. The faces even given the hair styles and period dress, could be anyone you encounter on the street, in church, at your local theater. Or at least, used to. Some of the images of corpses, of dead horses and of explosions disturbingly close by may be a little much for those who are sensitive.

One other thing; we are never introduced to any of the soldiers speaking; we only get a sense of their experience and not who they are. That’s a lot like reading a dust jacket and trying to get a sense of what the book is like. This was deliberately done by Jackson so as not to bog down the film and I understand his reasoning, but I think it backfired. I would have liked to have known these men a little bit better. At least, some of their names.

REASONS TO SEE: The footage is incredible and the technology that brings it to life breathtaking.
REASONS TO AVOID: A little too long, a little too tedious, a little too impersonal.
FAMILY VALUES: There are some disturbing images from the war.
TRIVIAL PURSUIT: Jackson was given carte blanche by the Imperial War Museum to use their footage however he saw fit (so long as it was respectful). Some of the footage has never been seen by the public.
BEYOND THE THEATER: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Now, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/17/20: Rotten Tomatoes: 100% positive reviews: Metacritic: 91/100.
COMPARISON SHOPPING: The Great War
FINAL RATING: 6.5/10
NEXT:
The Nutcracker and the Four Realms

Ray & Liz


Liz is not someone that you want to cross.

(2018) Drama (Kimstim/1091) Ella Smith, Justin Salinger, Patrick Romer, Tony Way, Joshua Millard-Lloyd, Sam Gittins, Richard Ashton, James Eeles, James Hinton, Andrew Jefferson-Tierney, Deirdre Kelly, Michelle Bonnard, Jamie-Lee Beacher. Directed by Richard Billingham

 

It is very hard to look at our parents with any sort of objectivity. Often, we see them through rose-colored glasses as superhuman beings who can do no wrong, but more often we see them as absolute screw-ups who can do nothing right. We rarely see them as human beings.

Richard Billingham, an art photographer turned film director, has made his career by turning his lens on his family life. This movie is largely autobiographical, looking at his parents Liz (Smith) and Ray (Salinger), who live in Birmingham’s Black Country in Thatcher’s England. Ray is on the dole, having lost his job. The family gains additional income from taking in a lodger, Will (Gittins) in their dump of a home. Liz, deciding that young Rich needs shoes, troops off with him and Ray in tow to the shops, leaving the younger brother Jason in the care of Lol (Way), Ray’s brother who is developmentally challenged.

Liz – who apparently has had issues with Lol in the past – leaves with a stern warning not to get into the booze but when Will arrives home, he sees a golden opportunity and finds the liquor, bringing up a crate full from the cellar. He manages to get Lol drop dead drunk, then paints Jason’s face with boot polish and sticks a carving knife in his hand, then quickly leaves, returning to see the follow up which is a terrifying beating from Liz.

The neglect – leaving one’s child with a mentally challenged individual – proves to be a pattern as we follow the family as the boys age into their teenage years. The family now lives in “council housing” i.e. government subsidized apartments for us Yanks. Studious Richard has a chance to get out but young Jason (Millard-Lloyd) is getting involved with delinquent behavior. Ray has become a raging alcoholic, and Liz self-medicates, smoking like a chimney and doing jigsaw puzzles. After a terrifying night when Jason ends up spending a frigid night in a neighbor’s shed, the authorities are forced to step in.

The whole movie is framed with scenes of Ray in his later years (Romer), living in the bedroom of his council flat, the room infested with flies as Ray’s mate Sid (Ashton) delivering bottles of some sort of carbonated home brew. Ray continues to be deep in the clutches of alcoholism, but now he is utterly alone. He is separated from Liz, who comes around once in awhile to cadge money from him, but there is no love between them that’s apparent. The family has completely disintegrated.

There’s no way around it; this is a bleak film filled with unlovable characters trying to make do in an intolerable economic situation. Liz and Ray seem genial on the surface, but both are completely self-absorbed, caring only about having enough cigarettes, booze and whatever distractions they are into at the moment. Their kids barely get a second thought.

Billingham gives us endless close-ups of the flies in Ray’s room, of Ray’s aged and booze-ravaged face. He seems to take delight in showing Ray’s awful situation; one wonders if he is getting back at his parents for the neglect he clearly feels. I don’t doubt that Liz and Ray were far from ideal parents, but they don’t get a voice in this thing; it seems clear that they are both suffering from depression but that’s not the kind of thing that was diagnosed commonly 30 years ago, and it doesn’t feel like Billingham would have forgiven them for it in any case

Smith gives an unforgettable performance as Liz; she stands out in the cast. Salinger is kind of lost as the less assertive Ray, although the actor has had some impressive performances in his resume. Billingham, with a photographer’s eye, composes his shots artistically and the movie, as bleak as it is and as squalid as the settings often are, is a pleasure to watch from a purely technical point of view. Still, there is so much lingering on the flies and on the anger that one wonders if Billingham wouldn’t have benefited more from a therapist than from a feature film.

REASONS TO SEE: Ella Smith is an absolute force of nature.
REASONS TO AVOID: Too many extraneous shots of flies.
FAMILY VALUES: There is a goodly amount of profanity, some violence, plenty of smoking and drinking.
TRIVIAL PURSUIT: Billingham is a photographer making his feature film directorial debut. His photographic essay Ray’s a Laugh is the basis for this film.
BEYOND THE THEATERS: Kanopy
CRITICAL MASS: As of 4/13/20: Rotten Tomatoes: 96% positive reviews, Metacritic: 81/100
COMPARISON SHOPPING: Sorry We Missed You
FINAL RATING: 6.5/10
NEXT:
The Possession of Hannah Grace

Agatha and the Truth of Murder


“Colonel Mustard, in the study, with the lead pipe.”

(2018) Mystery (Vision) Ruth Bradley, Pippa Haywood, Ralph Ineson, Bebe Cave, Luke Pierre, Joshua Silver, Samantha Spiro, Tim McInnerny, Blake Harrison, Dean Andrews, Brian McCardie, Michael McElhatton, Seamus O’Hara, Derek Halligan, Liam McMahon, Amelia Rose Dell, Clare McMahon, Richard Doubleday, Stacha Hicks. Directed by Terry Loane 

 

In 1926, the great mystery writer Agatha Christie disappeared, A great nationwide manhunt ensued with more than 10,000 police officers working the case. She was discovered eleven days later in a hotel, using the surname of her husband’s lover and with no memory of what transpired over those eleven days. To this day, it is a real-life unsolved mystery. This British made-for-TV film offers it’s own explanation.

Christie (Bradley) was at a crisis point in her life. While her career as a mystery author was going well, she was suffering from writer’s block and was tired of writing novels in which her readers simply picked the least likely suspect and solved the crime in that manner. Worse still, her husband (McMahon) was carrying on an affair with a younger woman and was demanding a divorce, one which she didn’t want to grant. Despite his infidelity, Christie was still in love with her husband.

She is in despair when approached by Mabel Rogers (Haywood), a nurse who begs the author to solve the murder of Rogers’ friend (and lover) Florence Nightingale Shore, bludgeoned to death on a train six years earlier. Although at first reluctant, Christie decides that solving the murder is not only the right thing to do but exactly what she needs to get out of her funk. She and Mabel concoct a plan to invite the main suspects in the crime to a country manor under the guise of being an insurance company representative seeing to the disbursement of funds from a will – nothing like appealing to greed to round up a disparate group of people.

Needless to say, things don’t go necessarily the way the great writer planned things and it ends up with her prime suspect (Andrews) being killed. When the actual police, in the person of Detective Inspector Dicks (Ineson), the cat is out of the bag and the game is truly afoot – to quote Arthur Conan Doyle (McElhatton), whom Christie consulted earlier about her writer’s block.

Part homage and part real life mystery, the case that Christie was called upon to solve in the film – the murder of Florence Nightingale Shore, a niece of that Florence Nightingale, actually happened as described and in reality, was never solved. That Christie knew about the case is certain; it was big news in Britain at the time and Christie used elements of the crime in her book The Man in the Brown Suit. Mabel Rogers also existed as well.

Bradley makes an extremely engaging Christie. The actress, best known in the States for her work in Grabbers as well as the genre series Primeval and Humans, gives the acclaimed mystery writer a certain amount of pluck. While she is devastated by her husband’s affair, she has enough self-awareness to know that wallowing in misery is not the way to go. I don’t know how close her portrayal is to how the real Christie was but I think she plays Agatha Christie the way we wish she was.

The era is captured pretty well and while the production values aren’t quite as lush as the best adaptations of Christie’s work are, the movie suffices in that regard. While mystery buffs will find nothing particularly innovative here, I don’t think the movie necessarily had to reinvent the wheel in order to be successful. If I do have a bit of a quibble, the dialogue can be stiff and sound unrealistic to my ears. It doesn’t sound like real people conversing at times.

Fans of Christie’s work – my mother is one and I grew up reading many of her novels – will find familiar territory here, from the gathering at a country manor to the somewhat positive light that the police are portrayed here (other mystery writers have tended to write them as bumbling fools). That makes this kind of cinematic comfort food, the sort of thing that is sorely needed in these trying times.

REASONS TO SEE: Bradley makes a wonderful Christie.
REASONS TO AVOID: The dialogue tends to be a bit stiff.
FAMILY VALUES: There is some brief violence.
TRIVIAL PURSUIT:  The film was broadcast on Channel 5 in the UK on December 23rd, 2018. It was the first in a series of fictional films about Christie to be shown on television – each featuring a different actress in the role.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Microsoft,  Netflix, Vudu, YouTube
CRITICAL MASS: As of 4/8/20: Rotten Tomatoes: No score yet, Metacritic: No score yet
COMPARISON SHOPPING: Agatha
FINAL RATING: 6.5/10
NEXT:
Fantastic Beasts: The Crimes of Grindlewald

The Aeronauts


Up, up and away in my beautiful balloon…

(2019) Adventure (AmazonFelicity Jones, Eddie Redmayne, Tom Courtenay, Himesh Patel, Phoebe Fox, Lewin Lloyd, Vincent Perez, Tim McInnerny, Rebecca Front, Anne Reid, Robert Glenister, Julian Ferro, Gian Kalch, Mia Hemmerling, Kamil Lemieszewski, Thomas Arnold, Steve Saunders, John Taylor, James Daniel Wilson, Guy Samuels, Fran Targ, Zander James, Elsa Alili. Directed by Tom Harper

 

We sometimes envy the birds, soaring free above the bounds of the ground, winging their way on the currents of the atmosphere, seeing our planet from a perspective we could never really understand. We have sought to control the air, learning to fly with balloons before eventually creating the airplane and consequently shrinking our planet.

In 1862 that was far away. While balloonists regularly performed exhibitions, aeronauts (as they were referred to as back then) were not taken too seriously as much more than performers. James Glaisher (Redmayne), who believed that studying the upper atmosphere would allow us to better understand weather patterns and eventually allow us to predict the weather, wants to go up higher than any other balloonist ever has. The Royal Science Academy basically thinks he’s cracked but he does find a taker in Amy Wren (Jones).

Wren is about as unconventional as a woman could get in the Victorian era. She makes grand entrances riding on the top of carriages, stuns her onlookers by throwing her beloved Jack Russell terrier out of the balloon (don’t worry folks – the pup has a parachute) and is apt to do cartwheels on the stage. Glaisher finds all of this distasteful and distracting from the scientific endeavor he is undertaking, but he needs a pilot and Wren is, like it or not, his bird.

Once they get airborne, they realize that their task is going to be much more difficult than they first thought, particularly since they manage to soar right into a thunderstorm. They have already overcome much adversity to begin with – Amy dealing with the awful death of her husband, Glaisher with the deteriorating mental state of his father and the ridicule of his peers. If they can learn to rely on each other they might just figure out that they have the skills to survive.

This is (very) loosely based on real events – not a single ascent, but rather several ascents. However, a great deal of liberty has been taken with history, although that’s nothing new for the movies. While I love Felicity Jones as an actress, her character is extremely improbable for the times she lives in. On the way to the record-breaking ascent, she orders the carriage to stop and gets out, plopping her butt down on the curb with ankles and calves on full display – and nobody pays attention. In 1862, the sight of a woman’s calf would have been scandalous. Felicity accentuates the girl’s spunk, but she certainly doesn’t seem a product of her times which I suppose fits right in with modern narratives.

Redmayne, who the last time he was paired with Jones won an Oscar, is curiously restrained here. I realize he’s supposed to be a stuffy scientist but he’s almost inert. Given his usual on-screen charm, it’s almost shocking how leaden his performance is here. This is not the Eddie Redmayne that we usually get to see. I suppose everyone is entitled to an off-film.

The action sequences are for the most part well-staged and Jones holds her own as an action hero, just as she did in Rogue One. This is the kind of adventure movie that went out of vogue with the advent of the anti-hero 70s, and has never really come back. However, before you classic movie fans begin to celebrate, this isn’t nearly as good as some of the films you remember. However, this is a solid piece of entertainment that while it doesn’t hold a candle to such films as The African Queen, for example, it nonetheless should hold even a casual movie fan’s interest.

REASONS TO SEE: Some of the sequences are marvelously staged.
REASONS TO AVOID: Nonsensical and anachronistic.
FAMILY VALUES: There are some sequences of extreme peril as well as some disturbing images.
TRIVIAL PURSUIT: Although James Glaisher was a real person who was a pioneer in meteorology, Amelia Wren is a fictional character albeit one based on actual women. Glaisher did indeed set a record for highest ascent in a balloon in 1862 but his partner, Henry Coxwell, was decidedly male.
BEYOND THE THEATERS: Amazon
CRITICAL MASS: As of 12/24/19: Rotten Tomatoes: 72% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Around the World in 80 Days
FINAL RATING: 6/10
NEXT:
22-July

The Guernsey Literary & Potato Peel Pie Society


Wheels keep on turning.

(2018) Drama (NetflixLily James, Michael Huisman, Jessica Brown Findlay, Glen Powell, Matthew Goode, Tom Courtnay, Katherine Parkinson, Clive Merrison, Bernice Stegers, Penelope Wilton, Kit Connor, Bronagh Gallagher, Florence Keen, Andy Gathergood, Nicolo Pasetti, Marek Oravec, Jack Morris, Stephanie Schonfeld, Pippa Rathbone, Rachel Olivant, Emily Patrick. Directed by Mike Newell

 

In 1946, England was still picking itself up and dusting itself off after the war. In London, the ruin of the Blitz was still very much in evidence and while there was an attitude of starting fresh, the pain and horror of the war wasn’t far from the surface.

Author Juliet Ashton (James) is making a tidy amount off of plucky war-set stories that are popular but bring her no intellectual satisfaction. A fan letter from a book club in picturesque Guernsey, a Channel Island that had been occupied by the Nazis during the war (a fact that this ignorant American wasn’t aware of) leads her to visit the club to perform a reading. She is captivated by the beauty of the island but even more so by the people, particularly those in the club. Although she is engaged to a flashy American diplomat (Powell), she finds herself drawn to farmer Dawsey Adams (Huisman). She is also drawn to the mystery of Elizabeth McKenna (Findlay), once the heart and soul of the club but whose absence nobody seems to want to talk about.

Mike Newell is one of the UK’s most capable directors with movies such as Four Weddings and a Funeral as well as Harry Potter and the Goblet of Fire, one of the better installments in the franchise, to his credit. He does a marvelous job of evoking the post-war Era and gathering together an even more marvelous cast. James is never more attractive than she is here, and nearly all of the ensemble cast has some wonderful moments, particularly veterans Courtnay and Wilton, particularly Wilton who is much undervalued as an actress. There are sequences here where the raw emotions brought on by survivor’s guilt are communicated without theatrical hysterics. It’s a nuanced and brilliant performance that very nearly steals the show.

The romantic elements of the movie are a bit too sweet, leaving one with an unpleasant taste in the mouth – I truly wish that the plot had revolved more on the tale of Elizabeth McKenna than on the romance between Dawsey Adams and Juliet Ashton which came off like a British period soap opera only less interesting. I can’t not recommend a Mike Newell film however and the strong performances in this one make it a perfect candidate to Netflix and Chill.

REASONS TO SEE: The era is recreated beautifully.
REASONS TO AVOID: Contains more than a little bit of treacle.
FAMILY VALUES: The themes are somewhat adult; there are also some sexual references and occasional mild profanity.
TRIVIAL PURSUIT: James, Findlay, Good and Wilton also have appeared in the hit PBS series Downton Abbey; one of the filming locations for the show also doubled as exteriors for Guernsey (the Charterhouse in cases anyone is keeping score).
BEYOND THE THEATERS: Netflix
CRITICAL MASS: As of 9/24/19: Rotten Tomatoes: 81% positive reviews: Metacritic: 65/100.
COMPARISON SHOPPING: The Man Who Went Up a Hill & Came Down a Mountain
FINAL RATING: 7/10
NEXT:
Jim Allison: Breakthrough

Liam Gallagher: As It Was


A rock star’s P.O.V.

(2019) Music Documentary (Screen MediaLiam Gallagher, Debbie Gwyther, Mike Smith, Paul Gallagher, JC Finan, Phil Christie, Drew McConnell, David Adcock, Peggy Gallagher, Sam Eldridge, Jay Mehler, Noel Gallagher, Christian Madden, Dan McDougal, Lennon Gallagher, Gene Gallagher, Paul “Bonehead” Arthurs, Mike Moore, Jo Whiley, Molly Gallagher. Directed by Gavin Fitzgerald and Charlie Lightening

 

Readers in their thirties or older will remember Oasis, the British pop group that dominated the British charts and earned praise and platinum record sales here in the States. Some might remember that they were led by the battlin’ Gallagher brothers, Liam and Noel who on August 28, 2009 got into a huge fight backstage at a Paris concert which led to the cancellation of the remainder of the tour. Noel quit the band the next day and the two brothers have not spoken or seen each other since.

The remaining members of Oasis continued as Beady Eye for a few more years but were unable to recapture the same magic or chart success as they had with Noel and broke up in 2014. Liam, despondent over the breakup of his band and also of the dissolution of his second marriage, wondered if his career had run its course. He self-medicated with alcohol and drugs before getting into a relationship with his former assistant Debbie Gwyther who would later be named his manager.

He went on to record an album, As You Were which was a smash success (a follow-up is scheduled to be released later this month – September 2019) and while Liam has matured some from his bad boy days, he is still the foul-mouthed straight shooter he has always been. He says what’s on his mind and the consequences are not a priority, although he admits that he has some regrets over the things he’s said in the past that have hurt people.

This documentary covers the time essentially from the day of the Oasis break-up to the end of the tour for As You Were. There are plenty of interviews, with Liam’s partner, mother, his brother Paul, label executives for Warner Brothers UK (who released the album) and musicians who played on the album.

There is a hint of hagiography; this has the feel of a promotional film, or worse yet, an episode of the old VH-1 series Behind the Music. On the surface, there seems to be an attempt to make this “warts and all” but it also must be said that the filmmakers hammer the point numerous times that family is important to Liam, particularly his mother, his two sons Lennon and Gene and the daughter he only recently discovered he had, Molly. It’s hard to reconcile that, however, with his refusal to even broach the subject of a reconciliation with his brother.

Personally, I don’t understand it, particularly in light of how quickly and suddenly people leave this life. They’re mad at each other over what, a band? The two grew up in the same fracking bedroom, for effs sake. What do these disputes matter? Who cares which one of them mans up and makes the first step? It’s not a freakin’ contest to see which one is the most stubborn. One day, one of them will be gone and then where will the other be? Kicking his own arse at what a fool he was all his life.

Fatherly advice aside (as if Liam or Noel are ever going to read it), there is a lot of great music here – Liam’s last album was killer, make no mistake. Still, this isn’t a movie that’s going to do much digging into the soul and psyche of Liam Gallagher and pretty much whatever your opinion of the man or his music, assuming you have one, isn’t likely to change much. While I highly recommend this for fans of Oasis – there’s a lot of great footage here you’re not likely to see anywhere else – those looking for a hard-hitting documentary that explores its subject with some depth are likely to be disappointed.

REASONS TO SEE: Definitely a must for Oasis fans.
REASONS TO AVOID: Feels a bit superficial, like an edition of VH-1’s Behind the Music.
FAMILY VALUES: There is a ton of profanity as well as some drug references.
TRIVIAL PURSUIT: Although Liam’s time with Oasis is extensively referenced, there are no Oasis songs on the soundtrack.
CRITICAL MASS: As of 9/16/19: Rotten Tomatoes:59% positive reviews: Metacritic: 49/100.
COMPARISON SHOPPING: Pulp: A Film About Life, Death and Supermarkets
FINAL RATING: 6/10
NEXT:
Depraved

Official Secrets


The reflection in liberty is sometimes the courage of a single person.

(2019) Biographical Drama (IFC) Keira Knightley, Ralph Fiennes, Matt Smith, Rhys Ifans, Matthew Goode, Adam Bakri, Indira Varma, MyAnna Buring, Tamsin Grieg, John Heffernan, Clive Francis, Kenneth Cranham, Jack Farthing, Katherine Kelly, Conleth Hill, Hattie Morahan, Shaun Dooley, Monica Dolan, Chris Larkin, Peter Guinness, Jeremy Northam, Hanako Footman Directed by Gavin Hood

 

There is a fundamental question when you hold a position within a government and that is this: do you work for the government, or for the people it represents? Not all of those who toil in government positions understand the distinction.

Katherine Gun (Knightley) works as a Mandarin translator for GCHQ – essentially the British version of the NSA – interpreting diplomatic and military communiques and writing reports. It’s a low-level job requiring high security clearance. At night, she goes home and watches the telly with her Turkish immigrant husband Yasar (Bakri) and shouting at the television as she watches American officials making speeches justifying their intent to go to war with Iraq and knowing that nothing that they’re saying is supported by fact.

The straw that breaks the camel’s back, however, is an NSA memo that is distributed to the GCHQ requesting information on six UN delegates on the UN Security Council who are standing in the way of that body approving the American invasion of Iraq. This is patently illegal by British law, but because this is a classified document, it is protected by the Official Secrets Act of 1989, a Thatcher-era British law that broadens what can and can’t be leaked to the press.

Understanding the ramifications of what she’s doing, Gun gives a copy of the memo to an anti-war activist who in turn forwards it to the offices of the Observer, an English newspaper. The Observer, like much of the conservative British press, had officially supported war (despite the evidence that the overwhelming majority of the UK was against it). While gung-ho activist reporter Ed Vullamy (Ifans),  a seething mass of liberal anger wants to rush this bombshell to press, calmer heads like foreign correspondent Peter Beaumont (Goode) want to first verify that the document  and make sure it’s authentic – you know, do the job the press is actually supposed to do.

That job falls to reporter Martin Bright (Smith) who diligently looks into the authorship of the memo. Eventually, the story goes to press but despite the outrage, the United States invades without a U.N. resolution and nearly 20 years later we’re still there.

Of course, all hell breaks loose at the GCHQ and the various people who work there who had access to the memo are interrogated. Not wanting to see her colleagues subjected to a witch hunt, Gun confesses. She is eventually arrested and after a year, charged with violation of the Official Secrets Act. On the advice of Bright (relayed through their mutual friend), Gun retains Ben Emmerson (Fiennes), founder of the activist legal group Liberty that defends British civil rights (think of a smaller scale ACLU). The government, seeking to make an example of Gun, undertake to harass and in general make her life miserable even before the charges can be filed. In the meantime, she is terrified that her husband will be deported.

This is a story on the level of that of Valerie Plame and Edward Snowden, of those who chose conscience over safety. Gun is most certainly a liberal hero and is treated as such by the film and South African director Gavin Hood, who has made two other films (Redacted and Eye in the Sky) about the U.S. involvement in Iraq.

The film has a crackerjack cast led by Knightley, who has in recent years done a lot of period work. I suppose this is also a bit of a period piece but at least this one is set after the Regency Era. She plays Gun as an impulsive and passionate woman who hadn’t looked to become a spy but became one anyway. When faced with a moral dilemma, she responded with the kind of courage that is rare. Understanding that a prison sentence is inevitable as would be massive personal consequences, would any of us have stood for what we felt was right? As much as I would like to think I would, I suspect that I – like most people – would opt for what is convenient. Knightley gives Gun a kind of vulnerability that makes her relatable as she second-guesses her decision as it becomes terrifyingly clear the ramifications of what she has done to her marriage and standing. Gun is not always heroic here and that makes the movie stronger.

Smith and Ifans, as reporters of opposing demeanors, both do impressive work which again, considering how strong this cast is, can be no easy feat. Hood, who co-wrote the film, tends to get bogged down in legal details during the third act and the nearly two hour movie begins to drag at that point. It is a bit exhausting by that point. Still, in an era where governments seem to be marching ever alarmingly to the right, it behooves us to remember how important it is for people of conscience to stand up and say “this is wrong,” even if it doesn’t make a difference immediately. In the long run, it makes every difference.

REASONS TO SEE: A really top-notch cast with particularly impressive performances by Knightley, Ifans and Smith.
REASONS TO AVOID: It’s a little bit too long and gets bogged down in legal details.
FAMILY VALUES: There is some profanity as well as adult themes.
TRIVIAL PURSUIT: In real life, Gun’s husband was deported to Turkey where he now lives along with Gun and their young daughter.
CRITICAL MASS: As of 9/14/19: Rotten Tomatoes: 79% positive reviews: Metacritic: 64/100.
COMPARISON SHOPPING: All the President’s Men
FINAL RATING: 6.5/10
NEXT:
Liam Gallagher: As It Was