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

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Truly, Madly, Deeply


Holding on to the last remnants of the dead.

Holding on to the last remnants of the dead.

(1990) Romantic Fantasy (Goldwyn) Juliet Stevenson, Alan Rickman, Bill Paterson, Michael Maloney, Jenny Howe, Christopher Rozycki, Stella Maris, Deborah Findlay, Ian Hawkes, Arturo Venegas, Richard Syms, Mark Long, Teddy Kempner, Graeme Du-Fresne, Frank Baker, Tony Biuto, Nitin Genatra, Heather Williams. Directed by Anthony Minghella

Grief is never easy under any circumstances but when the person you’re grieving is the person you expected to spend the rest of your life with, it’s a special kind of agony. It’s like not only is the person you love dead, so is a part of you. You go from having everything figured out to having no future.

Nina (Stevenson), a translator from Italian to English, is going through that. Her man Jamie (Rickman), a cellist, passed away suddenly and unexpectedly – one day he woke up with a sore throat and the next day he was gone. She is having trouble dealing with it; she feels his presence everywhere she goes, hears his voice. Oddly, he’s speaking Spanish – a language he didn’t know in life and which he’s speaking with an atrocious accent.

Then one night, when she is playing piano he is there in the flesh. Well, as in the flesh as ghosts get – he’s most definitely dead. Nina isn’t sure that she hasn’t gone mad but frankly she doesn’t care – she has what she wants and needs. The two caper about at first like mad teenagers, with the only real difference being that Jamie is perpetually cold and needs the heat turned up to nearly unbearable levels.

Nina’s support group of her amorous building super, the plumber, the pest-control guy she calls to deal with a rat problem and her boss are….well, supportive but not understanding of everything but they give her a lot of leeway. Then she meets Mark (Maloney), a social worker who is deeply caring, just a little zany and sweet on children. In short, the perfect guy…and Nina really likes him. The trouble is that Jamie is still around, even though he’s begun to act like a real twit, bringing his fellow ghosts to Nina’s flat to watch videos. “Was he always like that” Nina wonders about her dead boyfriend. Maybe he was, maybe he wasn’t but can she let go of him either way and move on?

I love love LOVE this movie. Not just because it deals with grief in a fairly realistic fashion despite the fantastic nature of the plot (ghosts aside) but because it utilizes the talents of its leads so perfectly. We get the sense of how deeply compatible Nina and Jamie are, literally harmonizing in a scene where they sing pop love songs together, but we also see the other side – Jamie can be a right demanding bastard sometimes.

Stevenson is much better known across the pond than she is over here but she is a truly gifted comedic actress and musician (she plays her own piano here). There is a scene early on where she is talking to a therapist about her grief and breaks down – it’s so well done that your heart literally breaks for her and you just want to give her hugs.

Minghella, who’d later go on to direct The English Patient (and win an Oscar for it) as well as The Talented Mr. Ripley and Cold Mountain ,lays it on a bit thick in places here. Mark, for example, is so dang perfect that you half expect him to walk across the Thames – and not on a bridge either. What I do like here is that this isn’t a silly mindless supernatural love story like Ghost was – a film that quite frankly I loathe. There are layers that I appreciate. For example, one thing you should keep in mind while you watch is that there’s a reason that Jamie comes back and it may not be the reason you think. The movie’s last scene is absolutely perfect in a subtle way when you think about what’s going on. At the time I saw it I scarcely thought twice about it but when I thought back upon it later and realized what it signified, I was floored. That’s truly impressive when an ending is actually better after thinking about it than when you first watch it.

WHY RENT THIS: Treats grief as a real thing and doesn’t marginalize or trivialize it. Rickman and Stevenson harmonize well together, figuratively and literally.

WHY RENT SOMETHING ELSE: A little mawkish and too-good-to-be-true in places.

FAMILY VALUES:  There is a smidgeon of bad language and some fairly adult themes going on here.

TRIVIAL PURSUIT: The working title for the film was originally Cello, not only referring to Jamie’s instrument of choice but also a play on the Italian word cielo, meaning Heaven. It was originally made for British television.

NOTABLE HOME VIDEO EXTRAS: There’s an interview with the late Anthony Minghella as well as an introduction by him to the DVD package.

BOX OFFICE PERFORMANCE: $1.6M on a $650,000 production budget.

COMPARISON SHOPPING: Ghost.

FINAL RATING: 8.5/10

NEXT: Getaway