Johnny English Strikes Again


Johnny English is virtually real.

(2018) Spy Comedy (Focus)  Rowan Atkinson, Olga Kurylenko, Ben Miller, Emma Thompson, Jake Lacy, Adam James, David Mumeni, Miranda Hennessy, Samantha Russell, Michael Gambon, Edward Fox, Charles Dance, Roger Barclay, Amit Shah, Pippa Bennett-Warner, Matthew Beard, Jack Fox, Noah Spiers, Alfie Kennedy, Jasmine Brightmore, Adam Greaves-Neal, Kendra Mei.  Directed by David Kerr

I don’t have a problem with silly movies. I’m all for silliness, and few actors do silly as well as Rowan Atkinson. But did anybody think this character, created for a series of British bank adverts, would last three films?

The suave superspy Johnny English (Atkinson) is happily retired as an instructor at a snooty boarding school, teaching his charges spycraft and military techniques when he is summoned back into service. It seems that a hacker has “outed” all of Britain’s spies, and is playing havoc with the traffic signals and banking system. The testy Prime Minister (Thompson) is getting ready to host the G-12 summit and she doesn’t want Great Britain humiliated. English, an analogue man in a digital world, seems to be the perfect choice to crack the case.

With the aid of a beautiful Russian spy (former Bond girl Kurylenko) and a trusty sidekick (Miller), English chases after Silicon Valley tycoon Jason Volta (Lacy) in a vintage Aston-Martin but does he still have the stuff to save England once again?

If you liked Johnny English and Johnny English Reborn you will probably like this as well – it’s more in the same vein, although the fart jokes of the latter have given way to Atkinson dropping his drawers with dreary repetition. I suppose that’s a step up.

Atkinson remains a gifted physical comedian but the character doesn’t differ much from faux spies we’ve seen in other spoofs. He has Clouseau-like misplaced arrogance, Maxwell Smart-like dignity and Austin Powers-like indominable resilience. There are tons of Bond references here but let’s face it, Bond did his own self-parody years ago and much better than this franchise.

Fans of Rowan Atkinson will dig this but probably not many else and even they may grouse that he was much better in Blackadder which he was. Then again, the writing in that series was so much better than the lowbrow tripe we get here. Perhaps this would have been better titled Johnny English Wears Out His Welcome.

REASONS TO SEE: Rowan Atkinson is unconsciously funny.
REASONS TO AVOID: Too been-there done-that for my taste.
FAMILY VALUES: There is some comic violence and rude humor, brief nudity and profanity.
TRIVIAL PURSUIT: Thompson’s husband Greg Wise has a small role as Agent One.
BEYOND THE THEATER: Amazon, AMC On Demand, AppleTV, Fandango Now, Google Play, HBO Now, Microsoft, Redbox, Vudu, YouTube
CRITICAL MASS: As of 4/3/20: Rotten Tomatoes: 37% positive reviews: Metacritic: 39/100.
COMPARISON SHOPPING: Austin Powers: International Man of Mystery
FINAL RATING: 5/10
NEXT:
Lone Star Deception

Sorry We Missed You


It’s a grim prognosis for the working class.

(2019) Drama (Zeitgeist/Kino-LorberKris Hitchen, Debbie Honeywood, Rhys Stone, Katie Proctor, Ross Brewster, Charlie Richmond, Julian Irons, Sheila Dunkerley, Maxie Peters, Christopher John Slater, Heather Wood, Alberto Dumba, Natalia Stonebanks, Jordan Collard, Dave Turner, Stephen Clegg, Darren Jones, Nikki Marshall. Directed by Ken Loach

 

It has likely never been harder to be a working man now than since the Middle Ages. Making ends meet is nearly impossible; wages have dropped sharply while the cost of living continues to rise. Jobs are not plentiful, certainly not of the kind that pay well enough to live decently. Cutting corners has become a way of life as people traverse the gig economy with tentative steps, knowing that they are much like people walking in a minefield with steel-toed boots.

Ricky Turner (Hitchen) has just lost his job in the construction industry and frankly, he’s sick and tired of working jobs that can be taken away from him at a moment’s notice. He wants to be his own boss and make a wage that will allow his family to have the things they need. However, jobs are particularly scarce in Newcastle, where he and his sweet wife Abbie (Honeywood) live with their teenage son Sebastian, or “Seb” as they call him (Stone) and their brilliant tween daughter Liza Jae (Proctor).

One of Ricky’s mates links him up with PBF, a parcel delivery service who is run by the bullet-headed bulldog-like Maloney (Brewster) who runs his business like a drill sergeant. In the parlance of PBF, they don’t hire employees, they onboard independent drivers. Drivers must supply their own vans, or rent one from the company at an exorbitant rate. However, if Ricky works hard and delivers his parcels on time, he will be making more than he ever did in construction, maybe enough so after two years they can save enough to put a down payment on a house, the dream of many renters.

isn’t quite so enthusiastic. In order to buy a van, they’ll have to sell the car that she uses to get to her job which is as an in-home caregiver to the elderly. She goes to their homes, cooks their meals, bathes them and tucks them into bed. She’s ideally suited for the job, but her clients are all over the map and getting to her appointments on time required a car. Taking the bus will cause her to be late more often. However, in the interest of family harmony, she gives in.

At first, things are sunshine and roses. Ricky does well on his route and becomes Maloney’s fair-haired boy, but there are some troubling signs. For one thing, the constant murderous pace of delivering parcels means drivers never get breaks and must learn to pee in a bottle rather than stopping anywhere for a bathroom break. For another, missing delivery windows and deadlines can lead to a system of demerits, which cost the drivers fines which put them in debt to PBF, forcing them to work more.

To make matters worse, Seb is indulging in some hooligan-ish behavior, skipping school, spray-painting graffiti along the roadsides and eventually getting into more serious trouble, forcing his parents to miss work in order to attend meetings with school headmasters and eventually police officers. Ricky is often so exhausted that he can barely see straight when he drives his van and taking the bus has forced Abbie to work longer hours as well. And despite the promise of better pay, the family is barely holding their heads above water as it is – it will take only the slightest of bumps to drown the lot of them.

Loach is one of the finest English directors of the past four decades and when I say that this is one of his best ever, keep in mind that he has films such as The Wind That Shakes the Barley and I, Daniel Blake on his filmography. Like many of his films, this is a taut, no-frills productions – there’s no score, and few special effects. The brisk pace keeps the story moving and whereas lesser directors might get bogged down in subplots, Loach and his longtime collaborator writer Paul Laverty keep their focus throughout.

It doesn’t hurt that he gets fantastic performances from the entire cast, some of whom are non-professionals and Hitchen and Honeywood exhibit some marvelous chemistry and screen presence. The dynamic for the entire Turner family feels organic and realistic; this could be the family living in the flat (or apartment) three doors down from yours, Ricky the guy down at the pub (or bar) rooting for his favorite team (in Ricky’s case, Manchester United).

The accents are very thick here, as they are in that part of England and so subtitles are necessary; some of the phrases may not be familiar to American audiences, so it might be frustrating to those who aren’t familiar with English idioms. Still, this is a marvelous film that is a triumph for the 83-year-old director who shows no signs of slowing down. This is an accurate portrayal of the problems facing the working class, so much so that it may cut a little too close to home for some. Even so, it should be required viewing for economics and business students who should see what the human toll of the current profits-at-any-cost mindset of business worldwide really is.

REASONS TO SEE: A grim portrayal of the working class circa 2019. The family dynamic feels very realistic. Hitchen and Honeywood do bang-up jobs.
REASONS TO AVOID: The heavily-accented English requires subtitles and some of the idioms used may be difficult to follow for the layman.
FAMILY VALUES: There is a good deal of profanity, some violence and brief sexual situations.
TRIVIAL PURSUIT: The license plate number for Ricky’s van is AK65 JFX.
CRITICAL MASS: As of 3/6/20: Rotten Tomatoes: 87% positive reviews: Metacritic: 82/100
COMPARISON SHOPPING: DriverX
FINAL RATING: 8.5/10
NEXT:
Once Were Brothers: Robbie Robertson and the Band

The Children Act


Move over, Judge Judy – here comes Judge Emma Thompson.

(2017) Drama (A24Emma Thompson, Fionn Whitehead, Stanley Tucci, Jason Watkins, Ben Chaplin, Nikki Amuka-Bird, Rupert Vansittart, Rosie Cavaliero, Anthony Calf, Nicholas Jones, Andrew Havill, Angela Holmes, Micah Balfour, Chris Wilson, Anjana Vasan, Paul Jesson, Eileen Walsh, Hilel Patel, Daniel Eghan, Michele Austin, Paul Bigley, Deborah Rock. Directed by Richard Eyre

 

.The things that make a judge a wise and diligent arbiter are the same things that destroy a marriage. The cost of making the right call weighs heavily on the bench.

That’s the message in this 2017 adaptation of a 2014 Ian McEwan novel. Oscar winner Emma Thompson stars as Fiona Maye, a justice in the High Court presiding over cases involving children. Fresh off of giving a hospital the right to separate conjoined twins that will result in the death of one of them, she is given the task of a boy just shy of his 18th birthday who is refusing a blood transfusion that would save his life. He was brought up as a Jehovah’s Witness who believes that the blood is where the soul resides and that the mixing of blood is blasphemy. Even though refusing the treatment would kill him, the boy – Adam (Whitehead) – holds that his religious beliefs are more important.

At the same time, her academic husband Jack (Tucci) has become fed up with the lack of intimacy in their marriage and, frankly, the lack of presence by his wife. He wants to have an affair, even though he professes to still love his wife. Fiona is having none of it. Jack leaves.

Fiona throws herself into the case as a way of keeping the demons at bay. She elects to take the highly unusual step of meeting with Adam in his hospital bed and finds him to be charming and articulate. The two even end up singing a duet together of a folk song based on a Yeats poem. But Fiona has a difficult decision to make; does the boy’s religious beliefs supersede medical facts? The children’s act, which places the welfare of the child as the paramount factor in any judicial decision in England, holds the key.

Thompson has long been one of my favorite actresses and even though this is one of the least approachable characters she has ever played, Thompson still imbues Fiona with humanity and intelligence. Her relationship with her husband is less symptomatic of her personality than her relationship with her clerk Nigel (Watkins). His obsequious nature is at odds with her blunt personality, and yet his devotion to her is absolute.

At the center of the film is the relationship between Fiona and Adam and that’s where the movie slips a little. Whitehead makes Adam almost too good to be true; it is only after Adam begins to feel more strongly towards the judge that Fiona begins to shy away which leads to an ending that is frankly a little maudlin which is definitely at odds with the rest of the film. Eyre and screenwriter McEwan (who adapted his own novel) have the courage to take on some thorny issues and handle them with equal attention to both sides of the coin. That’s a rarity in films today.

Even though the movie slips into preposterous mode near the end, it is still a smart, well-written drama that utilizes the talents of its star rather nicely. You don’t have to be familiar with the intricacies of British law in order to enjoy this one.

REASONS TO SEE: Emma Thompson is a force of nature here. Tackles some real thorny issues equitably.
REASONS TO AVOID: Loses steam near the end. The Adam-Fiona relationship seemed a bit forced.
FAMILY VALUES: There is a single sexual reference and some adult thematic material.
TRIVIAL PURSUIT: Whitehead starred with Thompson’s ex-husband Kenneth Branagh in Dunkirk.
BEYOND THE THEATERS: Amazon, AppleTV, Fandango Now, Google Play, GuideDoc, Hoopla, Kanopy, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 1/28/20: Rotten Tomatoes: 82% positive reviews, Metacritic: 62/100.
COMPARISON SHOPPING: Most John Grisham adaptations.
FINAL RATING: 6.5/10
NEXT:
Goosebumps 2: Haunted Halloween

The Sonata


Candlelight can be romantic – or terrifying.

(2018) Horror (Screen Media) Freya Tingley, Simon Abkarian, James Faulkner, Rutger Hauer, Catherine Schaub-Abkarian, Matt Barber, Christopher Brand, James Kermack, Myster Jo, Aurélija Pronina, Andrejs Zikovs, Maija Cipste, Artürs Ghoss, Laine Ligere Stegrévica, Janis Libietis, Jurijs Krüze, Atis Afréds Brasmanis, Olga Svecova, Aleksandrs Mihailovs, Alina Vasiljeva. Directed by Andrew Desmond

Music has an almost mystical hold on our imaginations. We define ourselves by it, link it to memories both dark and lovely, use it to buoy our spirits or help us carry out repetitive or boring tasks. We arrange ourselves into tribes according to the kind of music we like. Music is essential to who we are.

Rose Fisher (Tingley) is a concert violinist who may have a brilliant career ahead of her. She has yet to achieve her full potential which has led to a rift between her and her manager Charles (Abkarian), who is a recovering alcoholic. When the news that Rose’s estranged father has died, she fields the news with the same frosty demeanor that you’d adopt if you were told that you’re short change for the bus.

Charles is surprised to discover that Rose’s pa is none other than Richard Marlowe (Hauer), once a composer who was poised to remake classical music with his brilliant compositions – until he essentially withdrew from public life to a run-down French chateau. His name had sunk into obscurity – those who even knew who he was had assumed he had been dead for years. However, Marlowe had been busy in the last years of his life, creating a violin sonata that apparently was written with Rose in mind and might be his most brilliant work yet.

He also left Rose the aforementioned chateau with the obligatory nosy housekeeper (Schaub-Abkarian) which Rose doesn’t really want; she is much more interested in selling the Gothic abomination. However, when she discovers the new sonata, she also discovers a mystery; the sonata is dotted with strange symbols and appears only half-completed. As Rose looks into the piece, she discovers to her dismay that the symbols are Satanic in origin and as she begins to have horrific nightmares and unexplained occurrences make her waking hours no picnic either, she realizes that dear old dad had a much more sinister purpose with his piece than just tormenting his daughter with it.

The chateau makes for an excellent supernatural horror film setting, with plenty of sinister cherubic statues, appropriately foggy woods, and dark corners for apparitions to leap out of. Desmond gives us a concept that has all sorts of fascinating connotations; using music as a conduit to other realms. It makes sense if you understand how a really great musician is transported when in the midst of playing, and transports us along with them. There is power in that, a kind of power that sadly goes largely unexplored here.

Tingley, best known for TV series Hemlock Grove and Once Upon a Time, isn’t given a whole lot to work with. Rose is at various turns arrogant, cold, obsessive and vulnerable. She’s not really a damsel in distress, but she’s not really a terribly strong woman either. When we first meet her, she is informed of her father’s death and has a reaction that is guaranteed to be the very opposite of endearing. To make matters worse, Tingley gives us a rather stiff performance, making me theorize that she was uncomfortable with the role. That’s just conjecture, of course.

This is one of the great Rutger Hauer’s final performances and it is a brief one; he mostly appears in brief snatches – pointing to the woods, glimpsed in mirrors and around corners, and has no dialogue other than during a vintage interview. It really is rather a waste because he has more presence than anyone else in the film. I wish the filmmakers had utilized him better.

A film about music needs a good score and fortunately this film has one. Composer Alexis Mangaud makes a suitably creepy tone but also makes the music lovely for the most part – some of it is atonal and dissonant but by the film’s end it’s hard not to be mesmerized by the music, even if you’re not a classical music aficionado.

The film suffers from some rookie mistakes; an over-reliance on jump scares, plot points that lead nowhere, and generally unlikable characters who have little depth to them. Still, there’s enough here to make this a fairly solid horror opus perfect for rainy nights, autumn afternoons as the sun is dying in the sky, or just to creep you out when you’re alone in the house. Sometimes, that’s all a movie really needs to be.

REASONS TO SEE: A truly fascinating idea.
REASONS TO AVOID: Tingley gives a fairly stiff performance.
FAMILY VALUES: There are some unsettling adult themes, gruesome images, terror, profanity, and violence.
TRIVIAL PURSUIT: This is Desmond’s feature film debut; it is also the second-to-last film from the late Rutger Hauer to see the light of day (there’s one more coming out later this year).
BEYOND THE THEATERS: AppleTV, Fandango Now, Vudu
CRITICAL MASS: As of 1/9/20: Rotten Tomatoes: 67% positive reviews: Metacritic: No score yet
COMPARISON SHOPPING: Rosemary’s Baby
FINAL RATING: 6/10
NEXT:
Papillon (2018)

Christopher Robin


The gang’s all here.

(2018) Family (DisneyEwan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Oliver Ford Davies, Ronke Adekoluejo, Adrian Scarborough, Jim Cummings (voice), Brad Garrett (voice), Peter Capaldi (voice), Sophie Okonedo (voice), Toby Jones (voice), Roger Ashton-Griffiths, Ken Nwosu, John Dagleish, Amanda Lawrence, Orton O’Brien, Tristan Sturrock, Katy Carmichael. Directed by Marc Forster

 

Growing up is inevitable. We leave our childish things behind and become young adults, and then adults. It is the natural progression of things. It happens to us all.

It even happens to Christopher Robin (McGregor), the son of the famous author who invented Winnie the Pooh and was himself the inspiration for his namesake character. He works as an efficiency expert for a luggage firm in London (the real Christopher Robin owned a bookstore) and is miserable. He rarely sees his family anymore and wife Evelyn (Atwell) and daughter Madeline (Carmichael) have grown exasperated with their absentee husband/dad and have gone to the countryside to the house where Christopher Robin grew up. Their presence alerts Pooh (Cummings), who has discovered that his cohorts are all missing and needs Christopher Robin to come back to the Hundred Acre Wood to find them, but Christopher Robin – certain that he is cracking up under the pressure – has other fish to fry. Will he rediscover the things that are important before he loses everything?

This is very much a Disney movie and has a whole lot more in common with other Disney movies than it does with the life of the real Christopher Robin. Still, if you let the movie’s charm just envelop you, particularly if you grew up with Pooh, have a child growing up with Pooh or just like movies that are the cinematic equivalent of a grilled cheese and tomato soup, you might well find this a worthwhile investment of your time. Sure, the movie goes off the rails a bit during the climax and yes the clichés come thick and fast, but the Hundred Acre Wood is absolutely magical and the CGI creations, looking like the worn and beloved toys they once were, further that magic. This is perfect viewing for a rainy day or a summer night. Take your pick.

REASONS TO SEE: Remarkable CGI. Voice actors perfectly cast. A big warm down comforter of a movie.
REASONS TO AVOID: Standard Disney clichés. Loses oodles of steam during the final act.
FAMILY VALUES: There are some scenes of mild action.
TRIVIAL PURSUIT: Legendary composer Richard B. Sherman makes a cameo appearance during the mid-credits scene. Also, much of the movie was filmed at Ashdown Woods, the original inspiration for A.A. Milne’s Hundred Acre Woods.
BEYOND THE THEATERS: Amazon, AppleTV, Disney Plus, Fandango Now, Google Play, Movies Anywhere, Netflix, Vudu, YouTube
CRITICAL MASS: As of 12/123/19: Rotten Tomatoes: 73% positive reviews: Metacritic: 60/100.
COMPARISON SHOPPING: Hook
FINAL RATING: 7/10
NEXT:
The Aeronauts

Maiden


Sailing takes on a different attire in the oceans of Antarctica.

(2018) Documentary (Sony ClassicsTracy Edwards, Jo Gooding, Bruno Dubois, Barry Pickthall, Skip Novak, Bob Fisher, Howard Gibbons, Sally Hunter, Nancy Harris, Jeni Mundy, Claire Warren, Dawn Riley, Angela Heath, Marie-Claude Heys, Tanja Nisser. Directed by Alex Holmes

 

We like to characterize women as the fairer sex, but there’s always the underlying “the weaker sex” that goes unspoken except in actions which are, of course, much louder than words. Over the last century or so women have been struggling to prove that myth wrong and have done so, sometimes in triumphant fashion.

Sailing has always been a man’s world. There was the unadulterated bull excrement that it was bad luck to have a woman on board sailing vessels, as if vaginas somehow brought on the wrath of the gods. For longer endurance races, however, there was always the need for physical strength and endurance, something that admittedly men possess in greater amounts.

Tracy Edwards grew up in England a rebellious teen who was devoted to her father who sadly passed away at a young age. When her mum remarried, she found her stepdad to be a loathsome individual so she left and took on odd jobs from flight attendant to bartender, eventually working on the crew of yachts for hire. There she fell in love with sailing.

When she heard about the Whitbread Endurance Race, the longest of its time, she was eager to be part of it. However, the nearest she could get was to be a cook on one of the entrants. She was treated as a second class citizen and felt that she wasn’t contributing as much as she would have liked to. She realized early on that the only way to run the race as an on-deck crew member would be to captain her own boat, something that had never been done before. And since few male crew members would work for a woman, she would need to hire herself an all=female crew.

She was met with a great deal of skepticism if not outright hostility. It’s expensive to enter a vessel in the Whitbread and finding sponsors was a heck of a mountain to climb. Most were at best apathetic; others treated the idea as a joke. There were some sympathetic to her plan but quite frankly they were concerned about the publicity that would be incurred if the ship sank during the race and they went down with all hands – a distinct possibility particularly in the rough and treacherous Antarctic seas. Nobody could believe that she could actually do it.

By random chance, she met King Hussein of Jordan who grew to believe in her. He arranged for Jordanian Air to sponsor her and through that she was able to buy and refurbish a second-hand boat which was re-christened the Maiden Great Britain (get the aural pun?) and entered the vessel in the race. Journalists were skeptical with one, Bob Fisher, going so far to call the entry a “tin can full of tarts.” Nevertheless, she entered the 1989-90 Whitbread and journalists eagerly and with more than a little snarky glee took bests on how far they’d get. The rest would be history.

You can be forgiven if you’ve never heard of any of this. I confess I didn’t even know about the Whitbread (which is now called the Volvo Race after their current sponsor) and knew even less about Edwards. All this occurred 30 years ago and frankly I don’t really follow sailing at all. This isn’t a situation unique to me and an obstacle director Alex Holmes has to overcome.

He does the best thing possible to overcome it – he tells the story simply and lets the power of the narrative and the character of the participants draw the viewer in. Utilizing a lot of interviews with the participants in the race, their rivals aboard other boats and the journalists who covered the race as well as home movies and archival coverage, Holmes weaves the story nicely. The sequences in the Southern Ocean are particularly harrowing as we watch the tiny boat navigate rough seas that would put the North Atlantic to shame.

Edwards loathed the term “feminist” although her deeds mark her as a feminist to the core. The movie does lack a bit of context; what sort of effects did the Maiden voyage (see what I did there?) have on the world of yacht racing and on women in sports in general? Have there been any other all-female crews since? I can’t answer that but I can imagine that plenty of young girls who watch this movie may end up inspired enough to put together a team of their own.

REASONS TO SEE: A gripping story told well. The cinematography is spectacular as is the score. Edwards and her crew make for engaging subjects. Brings to light a little-known historic event.
REASONS TO AVOID: Really doesn’t delve into how the voyage of the Maiden changed things and the effect it has had on how women are regarded.
FAMILY VALUES: There is some profanity. Mature situations and some sexually suggestive content.
TRIVIAL PURSUIT: The film debuted at last year’s Toronto Film Festival.
CRITICAL MASS: As of 6/21/19: Rotten Tomatoes: 97% positive reviews: Metacritic: 79/100.
COMPARISON SHOPPING: All is Lost
FINAL RATING: 8/10
NEXT:
The House (2019)

Patrick (2018)


All dressed up and nowhere to go.

(2018) Family (Screen Media) Beattie Edmondson, Ed Skrein, Tom Bennett, Emelia Jones, Emily Atack, Cherie Lunghi, Peter Davison, Jennifer Saunders, Gemma Jones, Bernard Cribbins, Adrian Scarborough, Meera Syal, Milanka Brooks, Scott Chambers, Rupert Holliday-Evans, McKell David, Roy Hudd, Maria Barr, Rosie Ede, Olivia Buckland, Elena Valdameri. Directed by Mandie Fletcher

 

In the interest of full disclosure, I’m a well-known dog nut. Not merely a dog lover, but a dog nut, one who talks incessantly about my four-legged family members, who dotes on their every whim, and who would rather spend an evening cuddling with them rather than just about everything else. It does occasionally drive Da Queen batty.

Therefore, take the following review with a grain of salt as I will state outright that my objectivity goes right out the window when it comes to dog movies. In this one, Patrick is an adorable pug who is spoiled rotten by his wealthy, elderly owner. When she collapses while taking him for a walk and dies, his despair is palpable. But oddly, Patrick is bequeathed not to the exceptional, successful granddaughter nor to the equally wealthy son but to Sarah (Edmondson), the ne’er-do-well, disorganized hot mess of a granddaughter who can never arrive anywhere on time, not even granny’s funeral.

For Sarah, the “inheritance” couldn’t come at a worse time. She is stuck in an apartment after her latest in a long line of beaus has dumped her, leaving her in a neighborhood where she knows nobody in a flat that has a strict no pets policy which wasn’t an issue initially because Sarah hates dogs and she’s not terribly good with people either. She’s just starting a new job as a high school English teacher and she’s eager to make a good impression so that she’ll be kept on for next term. Patrick, used to having the run of the palace gets separation anxiety early and often and seems bound and determined to alert the landlord to his presence, destroy all of Sarah’s things and leave poop bombs for Sarah to step in or piddle puddles to slip on.

Naturally, she falls in love with the adorable little dog. It doesn’t hurt that through Patrick, she is introduced to Ben (Bennett), a stable and kindly man who loves dogs nearly as much as I and Oliver (Skrein), a handsome hunk of a veterinarian. He also helps her get through to her unruly class and preaches the joys of healthy living and exercising. Well, not so much preaches but allows her new mate Becky (Atack) to do the preaching; he just provides the opportunity, giving Sarah the excuse to go walkies in some lovely riverside parks throughout England.

There really isn’t a dramatic conflict here; the change from dog hater to devoted dog owner is a fairly seamless one and the film’s climax has to do with a fun run which she is physically unprepared for and whether or not she can complete it. Honestly, that’s it…so those film buffs among my readership might be excused if they want to give this one a pass. I do understand; as plots go this one is pretty much standard dog movie fare albeit one with lovely English settings.

Edmondson, best-known for Bridget Jones’ Baby over here, is an appealing lead who knows how to take a good prat fall. Some of her facial expressions are a bit over-the-top; subtlety might have benefited her performance more here but when you’re making a movie aimed at a certain demographic sometimes grand gestures and over-the-top facial mugging can be called for. I’ve never understood why. She is well-supported by a fairly impressive list of British thespians, including Cherie Lunghi (Excalibur), Jennifer Saunders (Absolutely Fabulous), Skrein (Deadpool), Peter Davison (Dr. Who), Gemma Jones (Bridget Jones’ Diary) and Bernard Cribbins (The Railway Children).

Patrick the pug will absolutely melt your heart, especially when you see him in his dapper tux during the funeral sequence at the beginning of the film. Sure, he’s a handful and spoiled absolutely out of his gourd but any pug lover (I’m looking at you, Char and Adam) will tell you that they are among the most loyal and loving creatures in the canine firmament. This is something of a niche film; dog lovers (and dog nuts) are going to be beguiled by the pug while others may find its charm wasted on them. As a romantic comedy it is a bit of a non-starter while kids who are looking for something a bit more frenetic may be bored. In any case I don’t think this is especially a kids movie even though it is being marketed somewhat that way; there are no children in the movie other than a niece and nephew who make brief appearances here and there whenever Sarah is with family. Still, those who like to dress up their fur babies and have placards proclaiming “A House is Not a Home Without a Dog” in their homes will be absolutely enchanted.

REASONS TO SEE: Edmondson is an appealing lead.
REASONS TO AVOID: A very rote family film.
FAMILY VALUES: There is plenty of dog poo humor and a bit of mild profanity.
TRIVIAL PURSUIT: Edmondson is Saunders’s daughter in real life.
BEYOND THE THEATERS: Amazon, Fandango Now, iTunes, Vudu
CRITICAL MASS: As of 2/18/19: Rotten Tomatoes: 32% positive reviews: Metacritic: 28/100.
COMPARISON SHOPPING: Beethoven
FINAL RATING: 6/10
NEXT:
ROMA