Austenland Review
The Plot:
Jane a modern day singleton obsessed with the world of Jane Austen and romantic ideals of Pride & Prejudice impulsively spends her life savings to visit an Austen themed holiday resort. Living in costume surrounded by professional actors, Jane hopes for a life changing experience living out her fantasies. But as the sparks of real life romance start to fly it soon becomes hard to tell where make believe ends and real love starts.
The Good:
Austen’s well known romantic clichés and the devoted obsession it inspires in modern day fans provide an easy target for comedy. It’s not too challenging to parody stern heartthrobs in britches and dashing sideburns or hysterical heroines in corsets and bonnets. Many will no doubt be pleased to see this silly satire take aim at the melodramatic seriousness of Mr Darcy themed fantasies.
Keri Russell does an adequate job as Austen obsessive and hapless romantic Jane. Though it’s actually JJ Fields and Flight of the Conchords star Brett McKenzie that commendably breathe some valuable likeability into the pretend Mr Darcy and real life stable hand that might both prove the answer to Jane’s romantic dreams. This at least gives the film some intrigue in its later stages.
Those with a real life love of Colin Firth’s smouldering Mr Darcy may take some joy from seeing it lampooned, especially if they have a taste for uncomplicated farce.
The Bad:
Much like Hess’s breakout success Napoleon Dynamite, Austenland is slow moving and will irritate some just as much as it amuses others. Hess’s obvious taste in eccentric oddity and campy kitsch definitely isn’t universally shared. Ultimately it just depends whether you prefer to greet frequent displays of cringe inducing awkwardness with a whimsical smile or an infuriated sneer.
As an example Jennifer Coolidge, best known for memorable supporting turns in American Pie and Legally Blonde, yet again plays a tactless buxom loudmouth. In previous roles this may have been amusing or endearing, but listening to her mangled deliberately awful attempts at an English accent is simply excruciating. It’s a perfect indication of the kind of heavy handed laughs the film continually offers up.
Brash American’s failing atrociously to imitate British accents, wit and sophistication is the kind of lazy laughs often found in children’s films. The same could be said of much of the film’s slapstick attempts at humour. Many of Austenland’s inhabitants, including snobbish proprietor Mrs. Wattlesbrook played by Jane Seymour, seem to be borrowed from a film aimed at a much younger audience than Hess likely ever intended.
The Ugly Truth:
Austenland gradually improves but never succeeds in matching the romantic heights of real Austen. A good soundtrack and occasional flashes of comedic or romantic chemistry keep thing’s watchable but feel more like redeeming features than a real joy. Ultimately Austenland provides a little light amusement, especially if you have a particular passion for period drama.
About Time Review
The Plot:
When a young man learns an extraordinary family secret he discovers he has the ability to time travel and relive or even change the past. Exploring his newfound abilities he learns valuable lessons about life, love and family.
The Good:
Writer Director Richard Curtis is the undisputed master of heart-warming romantic comedy and with About Time he delivers another satisfying slice of feel-good. Confident in his well-practiced romantic formula Curtis adds even more whimsical fantasy with the added element of time travel. More interestingly About Time also looks beyond a predictable love story to explore the love between a father and son.
Curtis has always been able to rely of the effortless charms of leading men like Hugh Grant or Colin Firth and in young rising star Domhnall Gleeson he continues that tradition. Gleeson gives a performance packed with likeable everyman charm. Rachel McAdams is equally endearing as Mary the American object of his determined affections. However as with Curtis’s definitive effort Love Actually, it’s actually Bill Nighy who steals the show as our heroes doting dad.
Nighy and Gleeson craft a sincere portrayal of the profound bond between a loving father and adult son as the film makes a surprising shift in focus at its halfway mark. It’s a relationship so rarely given proper focus on the big screen, but just as moving and powerful as any romantic love story. It’s a tribute to the film’s success at adequately capturing that love that over 90% of the audience will likely immediately call their family after leaving the cinema to tell them how much they love them.
The film could easily have stumbled over the confusing complexities of time travel. Luckily Curtis simply sidesteps unnecessary over thinking and keeps things as simple as possible. It’s an obvious source of easy comedy, but it’s also a clever vehicle for exploring love, loss, pain and joy.
The Bad:
Richard Curtis is often accused of being overly sentimental or saccharine and those who find his trademark romantic comedy formula more irritating than inspiring will probably have a similar reaction to About Time as his previous efforts. In essence, yet again likeable central characters fall happily in love surrounded by silly eccentric friends and whilst living mostly stress free lives.
While some will commend the film’s efforts to explore fresh territory and look beyond merely a simple story of boy gets girl, others may find it less purely romantic the Curtis’s past offerings like Notting Hill or Love Actually.
The Ugly Truth:
About Time is by his own admission Richard Curtis’s most personal work to date. Whilst it features all the familiar elements of his previous films it’s perhaps even more whimsical, thoughtful and profound.
Rush Review
The Plot:
Ron Howard re-creates the world of 1970s Formula One, dramatizing the electrifying rivalry between James Hunt and Niki Lauda, both on and off the race track. It’s a fascinating portrait of two very different champions; one a playboy daredevil and the other a neurotic technical genius. Focusing on their fierce battle for the 1976 world championship and the near fatal events which made it infamous.
The Good:
Simply put, Rush is a 200mph thrill ride packed with adrenalin, passion and personality. Screenwriter Peter Morgan proved with Frost/Nixon and The Queen that he could expertly craft the real life story of iconic figures locked in intimate battles. With Rush, Morgan once again provides a well worded study in contrasts, sincerely dramatizing familiar characters in their public and private moments.
A flawless cast, led by a star-making turn from Daniel Bruhl as fiery tempered Austrian Niki Lauda and a predictably charismatic performance by Chris Hemsworth as James Hunt, helps ignite the engine of a great script. Bruhl does a remarkable job of mimicking Lauda, expertly channelling his instantly recognisable voice and wry angry humour. Hemsworth likewise may surprise some people with his competent posh English accent and ability to add subtle layers to his innate rugged charms.
Hans Zimmers pulsing soundtrack exquisitely compliments the deafening roar of supercharged engines. A convincing combination of archival footage, CGI magic and on board cameras also puts audiences right in the driving seat of vintage Formula One races. Director Ron Howard showcases astonishing cinematography and a dedicated eye for historical detail. Overall the film easily equals past efforts like Apollo 13 and arguable represents his finest work to date.
The Bad:
It’s hard to find fault with the superb ride Rush offer audiences. Ron Howard delivers a near perfect package of technically accomplished action, fuelled by wit and passion. You certainly don’t need to be an expert Formula One fanatic to enjoy great storytelling.
The harshest of historical critics may quibble over the extent to which the film sensationalises the rivalry of two men who were in truth actually more friends than bitter adversaries in real life. However given everything the film does right it’s only fair to forgive it a little Hollywood oversimplification. Reducing Hunt and Lauda to caricatures, the playboy and the perfectionist, is a deliberate choice to streamline the narrative and ramp up the tension.
The Ugly Truth:
Rush is easily one of the finest films on release this year and an obvious early contender in several Oscar categories. Excellent storytelling makes it just as accessible for the uninitiated as for dedicated racing fans.
Red Carpet video Interviews below from the Rush World Premiere in Leicester Square:
You’re Next Review
The Plot:
A group of seemingly random attackers gets more than they bargained for when they terrorise a family reunion dinner party. As son Crispian’s new girlfriend Erin turns into the family’s only hope to survive.
The Good:
From the opening scene of Adam Wingard’s latest horror, it’s clear that any slasher fan will be happy for the next ninety minutes. With one of the catchiest songs ever accompanying an entertaining and genuinely funny script You’re Next doesn’t fail to keep you interested. Wingard’s hauntingly simple lingering shocks as well as superb performances from the cast makes this a treat which will have you laughing out loud right before you gasp in horror and shock. Whilst at first seeming like a quirky dysfunctional family comedy, Wingard easily builds the tension up until finally releasing it all in a fantastically disorientated dinner scene.
From then on, You’re Next becomes a fast paced thriller as the Davison family fight to survive the night with the help of Erin (Sharni Vinson – Home and Away‘s Cassie Turner) and her expert knowledge in combat. Whether it’s AJ Bowen’s great comic timing during the dialogue between Crispian and his family, or the surprisingly simple scary masks of the attackers, You’re next offers plenty to entertain you with. However the main treat comes from that of lead actress Sharni Vinson who steals the show as Aussie ass kicker Erin. If this is anything to go by, Vinson is sure to have a stellar career in films and proves herself as a worthy action hero.
The Bad:
Although for the most part, You’re Next stays fresh and entertaining, the final act seems to dampen down a bit. Without spoiling anything, what was a comedy turned thrill fest suddenly switches again, this time into a sort of sick Home Alone. A choice which borders on absurdity.
Another slight let down is the lack of character development in the brisk ninety-five minute run time. Another ten or twenty minutes of some more background story for the Davison family members might have helped the film. And whilst there is humour found from start to finish, often enough it does seem to only pop up here and there out of the blue occasionally.
The Ugly Truth:
The typical slasher genre is given many new depths whilst still hanging onto the stuff that will keep fans happy. With never a dull moment in sight, You’re Next will certainly keep you hooked. You’ll be hard pushed not to want to watch it again and again. If not for the superb action from Vinson or the brilliantly dark humour from Simon Barrett’s screenplay, or even the edge of your seat tension that Wingard brings to the screen, then definitely for the oh so catchy song.
Now You See Me Review
The Plot:
The FBI and Interpol are left baffled when a team of magicians known as the Four Horsemen seemingly rob a bank in France during their Las Vegas magic show and give the money away to their delighted audience. It soon becomes clear that it’s only the start of an elaborate wider plan with mysterious motive, but the Horseman will have to evade a dogged FBI agent and infamous Magical expert if they’re to perform their best trick yet.
The Good:
The initial premise of Now You See Me is vaguely original and conveniently catches hold of the recent popularity surge for magicians. The film ambitiously aims to combine the fun of an Ocean’s 11 heist with the mind-boggling magical drama of The Prestige. It succeeds just enough on both fronts to be consistently watchable and occasionally captivating.
The film’s cast includes Morgan Freeman, Mark Ruffalo, Jesse Eisenberg, Michael Caine, Isla Fisher and Woody Harrelson. It a fortunate collection of new/old talents that explains much of the film’s recent box office success and instantly elevates the material. Morgan Freeman’s gravel voiced gravitas and Mark Ruffalo’s perpetual weariness lend the film some valuable credibility.
Director Louis Leterrier does a competent job of giving the film’s action a glossy style. It’ a polished look borrowed from the heist genre that fits in neatly with the elaborate world of professional illusionists. A perpetually free moving camera in particular helps give the film a sense of momentum and gives at least the impression of clever intricacy.
The Bad:
After a promising start it’s a little disappointing that the film’s a-list ensemble don’t get too many chances to dip beneath the surface. It’s a great cast, but it’s still typecast.
The conscious decision to avoid giving the Four Horseman ‘too much personality’, leaves them a little more two dimensional than mysterious or awe inspiring. Jesse Eisenberg talks very fast, Woody Harrelson is lazily sardonic and Dave Franco… still isn’t James Franco.
It’s a little ironic that a film about deceptive showmanship promises so much but ultimately delivers dissatisfying anti-climaxes. Perhaps part of the problem is that in a world of CGI and special effects trickery, ordinary sleight of hand and implausible plot twists don’t dazzle audiences quite so easily.
The Ugly Truth:
Now You See Me isn’t ever quite as clever or brilliant as its runaway box-office success might imply. Perhaps the film’s best trick has been using a stellar cast to convince eager audiences that it’s “must see” magnificence. However, it remains a watchable addition to the heist genre that will particularly entertain anyone with a fondness for David Copperfield style theatrics.