Tag Archives: Sally Hawkins

REVIEW: “Paddington 2”

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I still remember January 2015 and the delightful little surprise that was “Paddington”. January is the time of year often known as a dumping ground for movies with little studio support. “Paddington” landed in the United States (after a successful 2014 launch overseas) and not only gave us something to watch early in the year, but a really good movie as well. Now its sequel continues that trend of bright January surprises.

Let me get this out of the way, “Paddington 2” is one of those rare sequels that’s better than its predecessor in nearly every way. That’s not a knock on the first film, “Paddington 2” is just that good. Paul King returns as director and co-writer of this adorable family movie telling the continued adventures of a friendly Peruvian bear and the Brown family of London who adopted him as one of their own.

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Things are wonderful for Paddington. His infectious kindness has endeared him to all of his Windsor Gardens neighbors. Well, with the exception of the delusional self-appointed neighborhood watchman (Peter Capaldi). Ben Whishaw is back lending his gentle and mellow voice to Paddington. Also returning is Sally Hawkins and Hugh Bonneville as Paddington’s congenial human parents Mary and Henry Brown.

Knowing his Aunt Lucy’s 100th birthday is just around the corner, the compassionate cub looks to get her the perfect gift. He finds it in a friend’s antique shop – a beautiful old pop-up book of London. One of my favorite sequences sees a wonderstruck Paddington flipping through the pages for the first time, his imagination pulling him into the book. Inside he walks from page to page showing Aunt Lucy the city she has dreamed of visiting. It’s gorgeous, charming and from then on the movie had me.

In order to purchase the book Paddington picks up some small jobs to earn money. As you would expect slapstick ensues, tempered and funny. But there’s a problem. A washed up actor named Phoenix Buchanan has his eyes on the book as well. Hugh Grant has a blast hamming it up as this narcissistic goofball who believes the book contains secrets that will help him recapture his formal glory. He devises a plan to swipe the book framing Paddington in the process.

It’s here the movie makes a hysterical shift. Paddington is arrested and eventually sent to prison. The entire prison sequence feels like something yanked straight out of a Wes Anderson picture. The dialogue, the quirky sense of humor, the visual composition all scream Andersonian influence. Soaking in Erik Wilson’s images is pure joy and as an Anderson superfan I found myself constantly amazed at how well King utilizes (or is he paying tribute to) such a unique style. But the film doesn’t depend on that influence. King makes this very much its own movie.

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It’s also laugh-out-loud funny. How can you not laugh at a mean, burly Brendan Gleason munching on a marmalade sandwich and discovering its savory magic. By the way his character’s name is Knuckles McGinty and he is the tough-as-nails prison chef. Watching the contagiously kind Paddington attempt to crack this hard nut is both undeniably sweet and genuinely hilarious.

Of the five ‘kids movie’ trailers we saw before our showing three of them contained variations of the tired but immensely popular fart joke. One of the great delights of “Paddington 2” is its trust in itself over lame gimmicky “humor”. Even as the movie picks up steam in the final act it never loses itself like many of these pictures do. And it always stays on message – you can never go wrong by being kind, caring, and compassionate. And the ripple effect of such a mindset can change the world. Now there is a message we all need to hear and “Paddington 2” makes sure we get to laugh along the way.

VERDICT – 4.5 STARS

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REVIEW: “The Shape of Water”

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No one can deny Guillermo del Toro’s willingness to utilize every trick in the cinematic playbook to create a magnificent visual experience. He has built worlds through several genres including dark fantasy, gothic horror, superhero, and even creature features. Yet despite his keen eye, vivid imagination, and a consistent backing from critics, “Pan’s Labyrinth” is his only film I would call truly great.

His latest movie “The Shape of Water” has generated a ton of awards buzz and is even being compared by some passionate del Toro fans to 2006’s “Pan’s Labyrinth”. Regardless of some things it does well, “The Shape of Water” is no “Pan’s”. But enough with counterproductive comparisons. The point is “The Shape of Water” has a big following and a ton of momentum heading into Oscar season.

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“The Shape of Water” could be called many things – an offbeat fairytale, a political fable, an unconventional love story, an allegory for del Toro’s view of the world today. All of those descriptions fit to some degree or another, and del Toro plays with them with varying levels of success.

Del Toro’s story, with its pulsating Cold War vibe, takes place in 1962 Baltimore. The wondrously expressive Sally Hawkins plays Elisa, mute since birth, who lives in an apartment above an old movie house. She and her next door neighbor Giles (Richard Jenkins) spend their time together watching old musicals and sharing their struggles. Both fit into one of del Toro’s more obvious themes – the plight of the marginalized.

Elisa works the night shift as a janitor at a secret government facility along with her close friend Zelda (a very good Octavia Spencer) who also fits within the marginalized theme. The facility has just acquired an “asset” pulled from a South American river – a tall, gilled amphibian-man accompanied by Colonel Richard Strickland (Michael Shannon). He is there to oversee the study of the creature and he’s clearly the film’s chief antagonist. Shannon is great and it’s a role he could probably do in his sleep. And as you would expect he is completely committed.

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But while undeniably menacing, Shannon (of no fault of his own) is also terribly on the nose. Much of del Toro’s more cynical point of view is encapsulated in Shannon’s character. He’s written to fit the mean old-fashioned Red State stereotype and through him del Toro gets to comment on religion, race and a host of other topics. But there is no subtlety whatsoever. You can practically hear del Toro beating his pulpit through much of Shannon’s dialogue.

Elisa’s curiosity and empathy help her to form a bond with the creature (yet another among the marginalized). She sneaks in the labratory and shares her lunch with the creature and plays it music on a portable record player. How is she able to have so much unguarded access to what is called “the most sensitive asset to ever be housed in the facility” and something we find out the Russians are after? There’s not a good answer to that, but they form a bond nonetheless. And after Elisa overhears talk of dissection, she knows she needs to bust the creature out.

As you watch you can’t help but see allusions to “The Creature From the Black Lagoon”, “King Kong” and even “Beauty and the Beast”. But del Toro pushes his creature fantasy further than any of those pictures. For some the film is genuinely romantic but I never had that sensation. The pacing doesn’t give the relationship time to germinate. And there are other things that get in the way – del Toro’s weird use of sexuality; a brief but bizarre dance number (I’ll leave it at that); and one scene which some have called the most beautiful moment in the film yet I couldn’t get over the sheer absurdity of how it played out. For me all of this underserved the romance the movie is trying to establish.

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While it has it’s narrative imperfections you can’t help but love the world del Toro visualizes. Inside the laboratory has a cold, harsh, metallic look. But outside the film takes on a gorgeous glow. Many images stand out for their beauty. It may be a bead of water dancing down a bus window or a brief camera pan across a movie house marquee right after a rain. The creature itself (played by long-time del Toro collaborator Doug Jones) is a fantastic creation made from traditional effects over CGI. Then you have Alexandre Desplat’s lovely, waltzy, heart-warming score which may be the best of the year. And of course the performances which are top-to-bottom fabulous.

It’s tough to know where to land on “The Shape of Water”. On one side you have a world so beautifully visualized, an enchanting classic movie vibe, top-notch performances, and a score that swept me away. On the other hand you have some glaring storytelling issues – an underserved romance, heavy-handed messaging that spells out instead of engaging, peculiar injections of nudity and graphic violence (sorry kids), and key scenes undercut by their goofiness. Yes, I know this is a fantasy picture and maybe I should be more imaginative, but when I’m thinking about these things as the movie plays – that’s a bummer. But did I mention how pretty the world is?

VERDICT – 2.5 STARS

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REVIEW: “Paddington”

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“Paddington” is a film that was never on my radar, that is until I noticed the waves of positive reviews coming from overseas. Suddenly I found myself paying attention to its United States debut. The film is based on the classic children’s literature series by Michael Bond. “Paddington” was announced eight years ago with Colin Firth set to voice the cuddly brown bear with a penchant for marmalade. The film finally began shooting in 2013 with Firth out and Ben Wishaw taking his place.

You remember the story of Paddington Bear, right? Forced to leave his home in the jungles of darkest Peru, Paddington, part of a special species of intelligent bears, sets out to find a new home. Many years earlier his family was discovered by an English explorer who told them they would always be welcome at his home in London. A desperate Paddington hitches a ride on a cargo ship and arrives in London where he expects overflowing kindness and of course a new place to call home.

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But things couldn’t be more different for this gentle and optimistic bear. He quickly finds that the people in London are as cold and unpleasant as the weather. Pushed aside and brushed off, Paddington begins to lose faith. But then he meets the Brown family. The wife and mother Mary (Sally Hawkins) and the youngest child Johnathan (Samuel Joslin) are both kind-hearted and compassionate. They convince the reluctant husband and father Henry (Hugh Bonneville) and their grumpy daughter Judy (Madeleine Harris) to let Paddington stay one night and then help him find the explorer who his family met in Peru several years earlier.

“Paddington” almost feels like two different movies. On the one side you have Paddington, his relationship with the Brown family, and his ‘fish out of water’ adjustments to life in the big city of London. This is the bulk of the film and it’s where “Paddington” absolutely sparkles. There is such a well conceived mixture of fun, playful slapstick and intelligent, heartfelt warmth. The film has a few big, wacky scenes, but they work because director Paul King doesn’t bury the material with the constant barrage of loud, frantic slapstick we get from most animated features. He always pulls back and then gives us scenes that humanize the story and the characters (even the bear).

Another reason these moments are so effective is because Paddington the character isn’t irritating, juvenile, or superficial. He’s charming, well mannered, and surprisingly genuine. It’s easy to love him and sympathize with his situation while also laughing at his well-meaning antics and the circumambient British wit. There is also enough substance and authenticity to his story and his relationships to give the movie a subtle emotional pop that I never saw coming. I was moved by an early train station scene inspired by a post-World War 2 reality and a one-word line of dialogue from Paddington himself near the end was absolutely perfect.

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But then there is that other movie I mentioned. Unfortunately King and co-writer Hamish McColl felt the need to shoehorn in an antagonist played by Nicole Kidman. A short side-story unfolds telling us of how Kidman’s mad taxidermist is intent on catching and stuffing Paddington. It’s silly, over-the-top, and it ultimately distracts from all of the things the movie does so well. The movie also follows a pretty predictable blueprint and it employs one of my least favorite narrative shortcuts – the big ‘this is the moral of the story’ speech at the end. These are all noticeable flaws, but thankfully they don’t kill the movie.

I could spend time talking about the fine performances from the tender-voiced Wishaw, from Hugh Bonneville, and especially Sally Hawkins. I could talk about the amazing job of mixing stunning CGI effects with live action. I could talk about the cool and artistic visual flair that Paul King brings to the film. There is so much I loved about the movie. Sure it has a few hiccups, but “Paddington” is such a welcomed treat. It’s head-and-shoulders above most of the PG-rated effects-driven family movies that we often get. Talk about a smart and entertaining surprise. Now pass me the marmalade.

VERDICT – 4 STARS

REVIEW: “Godzilla” (2014)

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Last year brought us “Pacific Rim”, an unashamed homage to the old creature features of the 1950s. By all right it should have been terrible but “Pacific Rim” was a decent film. It was far from perfect but it was a fun and entertaining romp. This year we get “Godzilla”, another monster movie that didn’t have me a bit excited at first and that could have been really awful. But it’s actually not. In fact not only is this new incarnation of the well known reptile better than last year’s “Pacific Rim”, it’s one of the better recent blockbusters and it was some of the most fun I’ve had at the theaters this year.

It doesn’t take long to notice several surprising differences in this film from what you might expect. The movie is built upon a very deliberate and methodical story. It certainly has its huge creature-feature action but we are never bombarded with it. The film is also set apart by its spectacular cast. “Godzilla” features a number of great performers that automatically enhance the experience. Ken Watanabe, Bryan Cranston, Elizabeth Olsen, Juliette Binoche, Sally Hawkins, and David Straithairn make up the film’s great supporting ensemble.

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Cranston plays a nuclear physicist who was present during a 1999 disaster at a nuclear plant in Japan. Fifteen years pass and he is still dealing with the consequences of the disaster while also determined to expose what he believes is a cover up of the true cause behind the event. Aaron Taylor-Johnson plays his son, a military man married to Olsen. Watanabe plays a scientist studying hidden findings at the disaster site along with his assistant Hawkins. Obviously towering monsters come into play as the story unfolds and revelations are made. The inevitable global threat takes center stage but not before an intense and very well conceived buildup takes place.

Almost every character is given their moments. At first I was wishing I had seen more of this person or that person, but each serve the plot very well. A couple of performers don’t get a lot of screen time but I’m okay with that mainly because they work really well within the story being told. Better yet, everyone is really good. Taylor-Johnson is probably the weakest of the talented cast but he is certainly adequate for what he is asked to do despite his moments of blandness. Cranston is fabulous and Watanabe is rock-solid as always. Hawkins is always good although she is reserved to an almost background character. Olsen continues to impress and Straithairn is a really nice fit as a Navy Admiral in charge of stopping this massive scaly threat.

But perhaps what I like the most is how the movie doesn’t cater to preconceived notions. As I mentioned, it very slowly develops its story but I found it to be incredibly intriguing and always tense. This may not impress those looking for a constant barrage of big creature effects, but I found it to be a wonderful approach which made those big creature moments all the more satisfying once they come. Director Gareth Edwards constructs his film well which hearkens back to the fun sci-fi monster movies of the 1950s. He uses their formulas of build up, buildup, slight reveal, buildup, big finale. I loved that.

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Now an argument could be made that the “big finale” is a bit too big. There is some merit to that. But even during those moments the story is moving in different directions which kept things interesting. Better yet, we had only seen passing glances of Godzilla up to that point so watching him duke it out in the finale was pretty exciting. It also helps that the movie looks great. There is a touch of the disaster genre here so we get several wide shots of massive destruction. They are always in context and they look fabulous. I also loved the look of Godzilla. Clearly there is CGI used, but yet he maintains an undeniable familiarity with the old classic Godzilla models. I got a real kick out of that. There is also a brilliant use of sound through the picture from big earth-shattering roars to perfect moments of ominous silence.

I think it’s safe to say that “Godzilla” is one of the biggest surprises for me this year. I had such a good time with the film and I was surprised at how well made and well written it is. The cast is committed and there’s no winking at the camera at any point. It literally had me glued to the screen for the entire running time and more than once I was smiling as it reminded me of those old monster movies that I still adore. Maybe there is a bit of nostalgia talking but I’m fine with that. I had a great time with “Godzilla” and I can’t wait to see it again!

VERDICT – 4.5 STARS

REVIEW: “Blue Jasmine”

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Each year has its share of certainties: we grow a year older, we have to pay our taxes, my sports teams disappoint me, and Woody Allen puts out a new movie. Now that doesn’t mean that every one of Allen’s films are masterpieces (ala “Midnight in Paris”). In fact some of them are just dreadful (ala last year’s “To Rome with Love”). But one thing about the bad ones, you always know the next film is only a year away. And maybe, just maybe, Allen will land one of the real gems he’s capable of making.

Here’s the good news – “Blue Jasmine” is one of the good ones. This character study touches on a number of subjects from business ethics to family troubles to rabid consumerism. At the center of it all is a captivating performance by Cate Blanchett. She plays Jasmine Francis, a New York socialite whose posh lifestyle collapses when her crooked husband is arrested and loses their fortune. Penniless and without a place to go, Jasmine flies to San Francisco and moves in with her estranged working-class sister Ginger (Sally Hawkins). It’s here that she must learn to start a new chapter of her life or drown in her despair of leaving the affluent upper crust.

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To go further, Jasmine is a wreck. She’s coming off of a nervous breakdown, she pops anxiety pills like candy, and she has an affinity for heavy drinking. She still carries her spoiled and privileged attitude which clashes with her new destitute reality. And all of this is brought on by her lousy husband. We see the events leading to Jasmine’s fall from luxury through several cleverly incorporated flashbacks. We watch her husband Hal (Alec Bladwin) and his penchant for women and shady business deals while she lives in a diamond-studded state of naïveté. She’s content with living high on the hog while asking no questions whatsoever. That proves to be a costly mistake, both mentally and monetarily.

Jasmine’s snooty ego doesn’t fit well with the circle of people she is introduced to in San Francisco. This class clash is the prominent focus for most of the film. This is also where we meet the film’s fantastic assortment of side characters. Hawkins is great as Jasmine’s kindhearted sister and I really liked Bobby Cannavele as her blue-collar beau hunk boyfriend. We get Michael Stuhlbarg as a lovestruck dentist and Peter Sarsgaard pops up as a wealthy businessman with political aspirations. But the biggest treat was Andrew Dice Clay. Yes you heard me, Andrew Dice Clay. Gone is the loud obnoxious standup routine. Here he plays a humble, hard-working fellow that you can’t help but sympathize with. And it’s all because of the unbelievable turn from Dice Clay. He was completely natural and restrained. Brilliant work.

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But the true star is Cate Blanchett who undoubtedly gives one of the year’s finest performances. There are bits of subtle humor that are sprinkled in throughout her story. But she’s more of a sad, self-destructive woman who has no sense of direction or belonging. Blanchett visualizes her struggles through every fidget, every bead of sweat, and every outburst. She’s not a likable character by any stretch but she’s simply mesmerizing. Blanchett gives a performance that is getting some Oscar hype. Personally I think it demands an Oscar nomination.

It’s clear that “Blue Jasmine” was influenced by other films. For example if you listen closely you can hear “A Streetcar Named Desire” passing in the distance. But Woody Allen has always been a filmmaker who treasures inspiration and when he is on his game he can truly deliver. This is really good material handled by an excellent cast including a surprise performance from Andrew Dice Clay and some of the best work of Cate Blanchett’s career. “Blue Jasmine” may not stay with you for a long time nor be considered among Allen’s very best by the bigger fans of his work. For me it really worked and it’s definitely good Woody Allen.

VERDICT – 4 STARS