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Reviews
Red Joan (2018)
Red Joan - a work of romantic fiction
I went to see this film without any fore knowledge of the content, only the general awareness that Judi Dench plays a senior female Russian spy, Joan Smith, hence the film's title. This film turned out to be a story told in flashbacks as Joan now a senior citizen is arrested for treason. Her spying activities start after we see Joan as a young Cambridge physics student flirting with revolutionary socialism and with a young Russian student, Leo, a cousin of her friend Sonya. The idealism of youth and the enduring friendships of university life bind the plot together as Joan becomes embroiled in spying for Leo as she becomes smitten by him, and starts working at a secret government research centre with her physics degree.
A thoughtful story that takes on the feel of a work of romantic fiction as the relationship between Leo and Joan evolves, sometimes at a distance, revealing the extent of the spying and the consequences of secrets revealed.
A thought provoking and interesting film that is intelligent in its approach.
Perhaps calling it 'inspired by a true story' that of Melita Norwood is too far fetched, as that real life Granny Spy never went to Cambridge University, never had a barrister son, never studied physics and had no doubts about her socialist ideals as both her parents were Communists. This is different more nuanced story and altogether better for it from a storyline perspective. Judi Dench is as wonderful as ever and Sophie Cookson as the young Joan is mesmerising. Leo as played by Tom Hughes adds mystery as the idealist young male love interest, to this fascinating and intelligent tale.
Can You Ever Forgive Me? (2018)
A hidden treasure of a film
Viewed here 5 days after its UK release, this quiet gem of a film has a bohemian air about it, and an art house atmosphere that film directors strive to achieve and rarely manage.
Based on a true story, the two main leads are terrific. Melissa McCarthy is Lee Israel, a celebrity biographer who is down on her luck, drinks too much, lives on her own in her apartment with her sick cat and is struggling to make a living in 1991 in New York.
Richard E. Grant plays Jack Hock, a mature gay lothario of no affixed abode, who joins her at the bar with a recollection of a party both attended once. Their distant acquaintance develops slowly over a glass or two as the isolated Lee accidentally discovers a way to get money, when she finds a letter in a book on her latest subject, written by Fanny Brice.
She tries to sell the letter via a local bookshop owner who indicates it's worth would be increased if the letter has more interest within it. Lee takes it home and duly obliges by adding a spicy P.S. for added value. This gently illegal enterprise develops as Lee crafts letters from Dorothy Parker and Noel Coward to sell, as she discovers her biographic skills allows her to replicate the style of these celebrity authors all too easily.
Lee confides in Jack her newly discovered way to pay her rent by forging these letters and swears him to secrecy. This sets the pretext for their relationship which then plays out in two brilliant performances that show us the complex layers of human isolation and loneliness, of an introverted writer's fear of criticism and rejection in baring her soul, and an extrovert ageing gay man living for the moment. It's compelling, charming and intriguing as you care what happens to these two fragile characters in the hostile real world of commercial and personal relationships, as they struggle to maintain their own relationships having rejected most friendships by their paths less travelled.
A truly emotionally affected performance from both actors as McCarthy is transformed in character to this introverted writer breaking her legal and moral code, and Grant revives his Withnail character a decade on, now in New York and grabbing life as it inevitably slips away towards old age.
A New York soundtrack peppered by contemporary Paul Simon, vintage Lou Reed and some 50s jazz classics only adds to the authenticity of the Woody Allen style observation in this film. It is destined to propel McCarthy and Grant's acting careers forward and might just become that rare cinematic beast, an instant classic. I recommend viewing it in a small ancient independent cinema as we did, because you then inhabit the past in a complimentary way to the film and experience it in its perfect setting. A hidden treasure of a film you really must go see.
Green Book (2018)
Green Book goes the extra mile
This is a hugely enjoyable movie that shows how far race relations in America has come and perhaps also how far it still has to go, told with a good storyline, simple plot device (the road trip) but most of all with really sympathetic lead characters. Two opposites in NY life, Tony Lip, the working class Italian nightclub bouncer from the Bronx ( Viggo Mortensen) and the world class African American pianist Dr Don Shirley ( Mahershala Ali) who lived in a flat above Carnegie Hall, team up for a tour down South. Based on a true story, the road trip shows us that opposite characters can learn humanity and civil understanding of another's world viewpoint from each other in an entertaining and humourous way, and survive the dangers, prejudices and stark reality of life in the Deep South in 1962. Go see it with an open heart and mind and you will be entertained and educated as you enjoy this tale of two men's journey towards mutual understanding.
Stan & Ollie (2018)
Not another fine mess, but a true love story
This film is just a pure delight from start to finish. The close up camera angles on Steve Coogan as Stan Laurel and J.C. Reilly as Oliver 'Babe' Hardy allow these fine actors brilliant characterisations to come to life in an intimate portrayal of Hollywood's comic geniuses in their latter days.
The plot line of their tour of the UK, on Stan's pretext of a film shoot at the end of the tour, works perfectly to show this definitive double act struggle in their later years to fill small theatres with their original slapstick material and added classic song and dance routines revived for British theatre audiences.
Based on AJ Marriot's book of the final tour of UK & Ireland, the film shows the love and respect the two characters have for each other, in adversity and with the support of their very different wives, 'two double acts for the price of one' as Bernard Delfont, their tour manager, puts it, as they bring their act over from Hollywood for one last run out.
The film's comedy feelgood factor, with the close intimate portrayals, combines in Jeff Pope's script to give modern film audiences a taste of the pure genius of Laurel & Hardy. It is the love story of two lifelong friends, however, that takes this film to another level, as Coogan and Reilly's portrayal is so perfectly observed as to satisfy film audiences that they are watching the embodiment of this defining double act of the moving picture era. The final tour story can then be told in a totally believable manner in this perfectly cast film, with a gentle unfolding of the relationship between the two men and their wives as they win over UK audiences once again with their stagecraft and hard work.
The love, care and attention to detail in this film sets it apart from most modern film making and because of this, it is a rare gem, created for our pleasure. Go see it, sit back and be entertained, laugh and cry and fall under the spell of watching Stan & Ollie come to life, and then wonder at the talent, timing and dedication of the film making craft that gives us this perfect film as a fitting tribute to this perfect comedy double act. Just brilliant.
Mary Poppins Returns (2018)
Legacy of Mary Poppins in safe hands
As a lifetime fan of the original film seen when I was 10 years old, there was some trepidation in viewing 'Mary Poppins Returns' but I shouldn't have worried. When Emily Blunt's Poppins enters the film, we are in safe hands. This sequel has been produced, directed and choreographed with deliberate echoes of the original and can also stand as a wonderful family friendly film in its own right. Once we hear the songs more than twice they will be embedded in our subconscious as much as the originals. The guest cameo roles for two of the original cast and a Disney heroine add to the feeling this film has been made with love and care and a true homage to the original film. Go see it, take the family, everything will be alright, with nothing lost but perhaps not in its original place, but a new place in our hearts.