Paddington 2


This may be the ultimate “oh dear” expression.

(2017) Family (Warner Brothers) Sally Hawkins, Hugh Grant, Ben Whishaw (voice), Julie Walters, Imelda Staunton (voice), Hugh Bonneville, Madeleine Harris, Michael Gambon (voice), Samuel Joslin, Brendan Gleeson, Jim Broadbent, Richard Ayoade, Peter Capaldi, Joanna Lumley, Sanjeev Bhaskar, Jessica Hynes, Robbie Gee, Tom Conti, Meera Syal, Claire Keelan. Directed by Paul King

 

Sequels so very rarely get to be better than their originals but here’s one that is true for that will appeal mainly to the parents with small kids set. The series of British children’s books by the late Michael Bond has made a smooth transition to the big screen and while it didn’t get the box office numbers of a big hit mainly due to circumstances beyond the control of the filmmakers (more on that in a minute), it has all the earmarks of being a great franchise.

The plot is simple; Paddington’s (Whishaw) Aunt Lucy (Staunton) is about to celebrate her 100th birthday and for the special occasion the animated bear wants to get her a special gift. He even finds one – a pop-up book that tours London. However, the price is a bit beyond the bear’s meager savings so he goes out to earn enough to buy the book but on the eve of his being able to afford it, someone steals it and Paddington is blamed and sent to prison for it.

Hawkins who returns from the first film as Mrs. Brown, the mom of the family that adopts Paddington, continues to excel in every role she takes on. The last few years in particular have seen some wonderful performances by the actress including an Oscar nomination but this is while not up to that level is nonetheless really, really good.

Grant gets a chance to let his inner ham out as he plays a has-been actor which could have led to lots of really inappropriate jokes, but Grant not only sets to the role with a fine sense of self-deprecating humor but with a lot of gusto as well. He very nearly steals the movie but the fact of the matter is that the film is so well-written, so warm and fuzzy that it’s like pulling a favorite blanket over you on a rainy day and curling up with a nice hot cup of tea and a beloved book you’re re-reading. It doesn’t hurt that the ending is such a feel-good moment that only the most hard-hearted of people will not get misty-eyed. There is no bigger group of unrepentant hard-hearts than film critics but the acclaim for this film has been nearly universal. If you didn’t see this one in theaters – and chances are you didn’t – you owe it to yourself and particularly your kids (if any) to catch this one on home video when it becomes available on it next month.

REASONS TO GO: The climactic train chase is a great deal of fun. Hawkins is becoming one of my favorite actresses. The ending (not including a scene while the credits are running) is one of the most touching and beautiful I’ve ever seen.
REASONS TO STAY: The film drags a bit in the middle. Some of the acting is a little silly and lots of the humor is very, VERY British.
FAMILY VALUES: There’s a bit of action on a kids show level as well as some mild rude humor.
TRIVIAL PURSUIT: As of this writing, Paddington 2 holds the distinction of having the most positive reviews (192) on Rotten Tomatoes without a single negative one.
CRITICAL MASS: As of 3/15/18: Rotten Tomatoes: 100% positive reviews: Metacritic: 88/100.
COMPARISON SHOPPING: Garfield
FINAL RATING: 7.5/10
NEXT:
Cocote

Advertisements

The Tempest (2010)


The Tempest

Helen Mirren is one hot Prospera.

(2010) Fantasy (Miramax) Helen Mirren, Russell Brand, Reeve Carney, Felicity Jones, Ben Whishaw, David Strathairn, Djimon Honsou, Chris Cooper, Tom Conti, Alan Cumming, Alfred Molina, Jude Akuwudike, David Scott Klein, Bryan Webster, Kevin Cannon. Directed by Julie Taymor

 

William Shakespeare was a man who understood human nature perhaps better than any writer in history; certainly he understood his own and it isn’t far-fetched to theorize that when he wrote his play, The Tempest, he was fully aware that it would be his last and accordingly, gave himself leave to discourse on our own mortality which he did in a way that was beautiful and neither grim nor morbid. Visually acute director Julie Taymor has stated that it is the most visually beautiful of Shakespeare’s plays and she would certainly know – she has already directed a filmed version of Titus Andronicus (as Titus with Anthony Hopkins in the title role).

Prospera (Mirren), once the Grand Duchess of Milan, has been exiled to a barren Mediterranean island along with Miranda (Jones), her daughter. The machinations of her wicked brother Antonio (Cooper) are what landed her there; he longed for her political power and wealth. However while on the island Prospera has amassed power of a different sort – magical and so when King Alonso of Naples (Strathairn) – complicit in Antonio’s usurping of her position and subsequent placing in a raft to die – returns from the wedding of his daughter with Antonio along, she uses the opportunity to summon a great storm that wrecks their ship. The passengers of the vessel are washed onto the rocky shores of the island, separated by the magicks of Prospera and her fairy servant Ariel (Whishaw), whom she previously had rescued from a tree where he’d been imprisoned by the evil witch Sycorax who died long before Prospera’s arrival.

King Alonso, along with Antonio and Antonio’s co-conspirator Sebastian (Cumming) and Prospera’s former advisor (and Alonso’s current one) Gonzalo (Conti) find themselves beset by evil visions brought upon them by Ariel at Prospera’s command; drunkards Trinculo (Brand) and Stephano (Molina) have discovered the island’s sole other inhabitant, the horribly deformed Caliban (Honsou) who had been enslaved by Prospera after he attempted to rape Miranda years earlier; the three plot Prospera’s downfall and assassination while partaking of much liquid courage.

Finally there is Ferdinand (Carney), Alonso’s son who has fallen for Miranda and vice versa, a union Prospera is not opposed to. The three groups will make their way to Prospera’s home and laboratory where Prospera will be faced with an awful choice upon which the fate of most of the castaways hangs upon.

Taymor is one of the most visually innovative directors working today; her images in Across the Universe are nothing short of spectacular. She works her magic here as well, showing Prospera dissolving into a flock of crows, or Ariel morphing into a variety of forms, or Prospera’s Escher-esque home. The visuals are often beautiful and dazzling, sometimes changing the night sky into alchemic equations that spin around the actors like locusts.

The cast is impressive but none more so than Mirren. An Oscar winner and along with Meryl Streep perhaps the most respected film actress of the 21st century to date, Mirren infuses Prospera with wistfulness, rage, motherly concern ad political savvy. The casting of a woman in the role completely changes the dynamic of the relationship between Prospera/Prospero and Miranda from father/daughter to mother/daughter and as we all know, those relationships are a different kettle of fish entirely. Whishaw plays the ethereal Ariel as androgynous and otherworldly; it is a scene-stealing performance that often ends up as the visual center for Taymor’s imagination.

Strathairn and Cooper are magnificent actors, both Oscar-nominated and in Cooper’s case, an Oscar winner. Strathairn has done Shakespeare before onscreen (A Midsummer’s Night Dream) and both capture the essence of their characters nicely. Brand shows little affinity for Shakespeare, reciting his lines as if he is performing a stand-up routine. Honsou as well carries Caliban’s rage and torment to fruition, although he occasionally goes over the top.

“Over the top” often describes the visuals that Taymor inserts into the film. Some are wonder-inspiring but after awhile I found myself somewhat inured to them; some of the most beautiful dialogue in history is here in this play – “We are such stuff that dreams are made of, and our little life is rounded by sleep” being one of my favorite lines of dialogue ever spoken in any play, ever – and yet these exemplars of language take a back-seat to special effects. Taymor may as well have set the movie on Tatooine and been done with it.

However, the prose of Shakespeare is ultimately what makes this movie worthwhile. That and some of the fine performances using those words. Usually I’m all good with special effects eye candy but here it detracts more than it creates wonder and that is where the film has its greatest failing; Taymor fails to trust Shakespeare to carry the movie on its own merits. If you can’t trust the greatest playwright in history, who can you trust?

WHY RENT THIS: Some wonderful eye candy. Mirren, Cooper, Whishaw and Strathairn are tremendous actors and show why here.

WHY RENT SOMETHING ELSE: Too many visuals and not enough substance; after awhile the effects distract from Shakespeare’s beautiful prose.

FAMILY VALUES:  There is a little bit of nudity, some scary content and images and a little bit of sexual innuendo.

TRIVIAL PURSUIT: The part of Prospero was originally written by Shakespeare to be a man. Taymor encountered Mirren at a party and the conversation turned to Shakespeare; Mirren mentioned that she had previously played Caliban in a stage version of the play and thought she might like to do Prospero as a woman. Taymor, who was thinking along the same lines, told Mirren so and the two essentially cemented Mirren’s participation right then and there.

NOTABLE DVD EXTRAS: There is some rehearsal footage (one focusing on Russell Brand alone) as well as a music video of “O Mistress Mine” which runs over the closing credits.

BOX OFFICE PERFORMANCE: $346,594 on a $20M production budget; the movie was a financial flop.

FINAL RATING: 5/10

NEXT:Mongol