Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you about the alien thrills of “Disclosure Day,” the spoof “Stop! That! Train!” and the supernatural “The Voice Of Our Mother.”
Watch the whole thing HERE!
SYNOPSIS: In “Disclosure Day,” the new Steven Spielberg alien thriller now playing in theatres, a television meteorologist’s on-air possession reveals verifiable proof of extraterrestrial intelligence, triggering a worldwide awareness.
CAST: Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo. Directed by Steven Spielberg.
REVIEW: “Disclosure Day” delivers aliens and thrills in equal parts to sentimentality and spectacle. A high-stakes conspiracy thriller, it plays like Steven Spielberg directed an elaborate episode of “The X-Files.”
Emily Blunt plays Margaret Fairchild, a former journalist now working as a Kansas City television meteorologist. When she experiences an on-air possession and spouts a strange jumble of clicks, pops and grunts, cybersecurity expert Daniel Kellner (Josh O’Connor) identifies the sounds as an alien language.
“I can see them,” Margaret says. “What’s happening to me?”
As clips of her possession go viral, evidence of extraterrestrial life emerges, despite the best efforts of government organizations and Wardex corporation head Noah Scanlon (Colin Firth) to cover up any and all revelations.
Working together, Margaret and Daniel fight for full transparency; a disclosure day when the truth is finally revealed. “Full disclosure to the whole world,” says Daniel. “All at once.”
Spielberg’s other alien films—“Close Encounters of the Third Kind,” “E.T. the Extra-Terrestrial” and “War of the Worlds”—are more intimate than this one, respectively focusing on family stories of connection, friendship and survival. Here the focus is widened to ask a simple question in a complicated, overstuffed film: What will happen when humankind discovers we’re not alone in the universe?
It’s an ontological point of view, pondering the world’s reaction to alien life, wondering if mutual acceptance is possible as it weaves together a world-changing revelation, shadowy government conspiracies, thrills and lens flares. In many ways it feels like classic Amblin, but the perspective is different. It’s not simply about acceptance; it’s about optimism in the aftermath of first contact.
It is also, in almost equal measure to the alien story, a chase film that allows Spielberg to stage a wild action set piece that sees Margaret and Daniel jumping between cars and a speeding train. It’s a big and brash sequence that brings together Spielberg’s technical mastery, John Williams’ exciting score, brilliant cinematography courtesy of longtime collaborator Janusz Kamiński and loads of practical effects.
It’s a highlight in an overlong film is otherwise a mixed bag.
On the upside are terrific performances from the leads.
From the tense, four-minute possession scene, to taking on the bulk of the film’s emotional and physical weight, Emily Blunt impresses.
It’s also fun to see Colin Firth and Colman Domingo as former colleagues now acting as avatars for secrecy vs. truth. As Scanlon, Firth plays against type, embracing his character’s villainy in ways that, were this a pantomime, would turn the audience into a sea of boos every time he appears on screen. An interrogation scene between Scanlon and Jane (played by a terrific Eve Hewson) a former nun who happens to be Daniel’s girlfriend, is a highlight.
Domingo balances the equation as the film’s moral core. It’s a difficult role, one that requires him to spout loads of exposition, but his calming presence grounds the film’s otherworldly action.
On the downside, as Spielberg, working from a screenplay by David Koepp, explores modern concerns like fear of AI and tech, faith, misinformation and Unidentified Anomalous Phenomena, the film becomes repetitious and unfocussed.
Add to that useless government operatives who create plot holes big enough to fly a spaceship through, and you’re left with a movie that grows ever more frustrating as the end credits approach. The movie’s desire for us to believe in aliens is easier to take than some of the logic lapses Spielberg wants us to buy into.
Still, “Disclosure Day” offers enough Spielbergian treats—like a cool shot of an intended victim’s face reflected in the blade of the knife that may, or may not, be used to kill them— to cover some of the script’s plot holes and clichés.
SYNOPSIS: Renee Zellweger returns as the title character in “Bridget Jones: Mad About the Boy.” In this romantic comedy, now streaming on Prime Video, Bridget finds herself widowed with two children and a job as a television producer. Four years after the death of her beloved husband Mark Darcy (Colin Firth), she decides to restart her life, and meets a much younger man.
CAST: Renée Zellweger, Hugh Grant, Colin Firth, Emma Thompson, Chiwetel Ejiofor, Leo Woodall, Isla Fisher, Josette Simon, Nico Parker and Leila Farzad. Directed by Michael Morris.
REVIEW: The general rule of thumb for sequels is that the further you get away from the source, the worse the movies get. The first cut is almost always the deepest, and while there are exceptions, by the time you get to the fourth movie and twenty-fourth year of a franchise, it’s all about diminishing returns.
One cinematic guest who hasn’t worn out their welcome, however, is Bridget Jones as played by Renée Zellweger. Since 2001 at the movies (and 1995 in Helen Fielding’s article and books) her quirky, and often messy, romantic adventures have entertained without a trace of sequelitis.
The new film, “Bridget Jones: Mad About the Boy” sees Bridget restart her romantic life after the death of her husband. “It’s time to live,” she writes in her famous diary.
Of course, there are complications. It wouldn’t be a Bridget Jones movie without them.
The awkward Bridget never met an embarrassing situation she couldn’t amplify, and lip filler is definitely not her thing. Those slapstick moments provide the nostalgic blast of the old Bridget we’ve come to expect, as do cameos by series regulars like Hugh Grant, as aging playboy Daniel Stern (who teaches Bridget’s kids to make a cocktail called a Bad Mommy) and Dame Emma Thompson as Bridget’s friend and gynecologist, but this time around it’s the story’s more poignant aspects that resonate.
Bridget Jones has grown up, somewhat, and so have the movies. This time around there is a melancholy vibe, the result of Mr. Darcy’s passing, and Bridget’s difficulties navigating life as a single mother.
The callbacks to the other movies serve as a reminder of how long we’ve been part of Bridget’s life. And while “Mad About the Boy” is loaded with familiar jokes and echoes the first film in terms of its romantic entanglements (no spoilers here), it is in its examinations of what it means to move on and maybe even find happiness, without leaving the past and someone you love completely behind, that it tills fresh ground. It’s a welcome new chapter for Bridget and for those of us who have known her for almost a quarter century.
“Empire of Light,” a new drama from director Sam Mendes, takes almost two hours to deliver the same magic-of-the-movies message Nicole Kidman’s AMC advertisement drove home in just one minute and one second.
Set in 1981, Olivia Colman plays Hilary Small, a lonely duty manager at a Margate cinema called The Empire. She is fastidious, detail oriented and on top of every little thing, even if she doesn’t really care for the movies she shows in their beautiful Art Deco auditoriums. “They’re for the customers,” she says.
Her personal life is as messy as her work life is ordered. An illicit affair with her boss, Mr. Ellis (Colin Firth), the theatre’s general manager, is a study in power imbalance and an unnamed mental illness leaves her unable to sleep and reliant on lithium to maintain equilibrium.
Stephen (Micheal Ward), a new theatre employee, fits in perfectly with the others, Neil (Tom Brooke), punk rocker Janine (Hannah Onslow) and projectionist Norman (Toby Jones) but really sparks with Hilary, even though she is many years his senior.
At the theatre romance blossoms between them, but in the outside world the rise of the National Front troubles Stephen, and he is regularly harassed by skinheads simply because he is a Black man living in Britain.
As Mr. Ellis prepares to host the regional gala premier of “Chariots of Fire,” events conspire to change the nature of Hilary and Stephen’s relationship, and perhaps the rest of their lives.
“Empire of Light” takes on a lot but does not seamlessly blend its many ideas into a whole. A study of racism, mental illness, power structures and the transformative power of the movies, it is splintered into too many pieces to work as a cohesive story. When Mendes focusses his camera on Hilary and Stephen the movie finds its power, when he does not, it drifts.
Colman, in the film’s most demanding role, once again proves her remarkable ability to inhabit a character. Hilary is a complex person, and as her depression grips, she boards an emotional rollercoaster. Colman carefully and sensitively portrays that aspect of Hilary’s life in a terrific performance, filled with humanity and sympathy.
Opposite Colman in the film’s best scenes is Ward. As Stephen, in a career making performance, he brings empathy to the film. In one of his early moments, he helps a pigeon with a broken wing. That action could have served as an overworked metaphor, given his budding relationship with the damaged Hilary, but instead establishes Stephen’s innate decency in a world that does not always return the favor. Conversely, Ward’s steeliness comes through in several scenes of outrageous racism.
At its heart “Empire of Light” is a love letter to film and grand old movie palaces like The Empire. But once again, Mendes uses the metaphors like a jackhammer on concrete. In an impassioned speech, Toby Jones, who calls the theatre’s projectors his “babies,” explains the magic of the movies to Stephen. “Still images with darkness in between,” he says. “If I run them at 24 frames a second, you don’t see the darkness.” Jones delivers the line with breathless reverence, as if the idea that film as a panacea for all that ails us was something new instead of a clunky metaphor. The “Cinema Paradiso-esque” veneration is well intended, but, given the film’s essaying of racism and mental illness, feels overstated and trite.
Based on a British Second World War deception operation to camouflage the 1943 Allied invasion of Sicily, “Operation Mincemeat,” now playing in theatres, moving to Netflix on May 11, is an entertaining retelling of a little-known plan to break Hitler’s grasp on Europe.
Based on historical records, the movie details a plan so outlandish it sounds as though it sprung from the fanciful mind of a screenwriter. That the plan was, in part, hatched by a young Ian Fleming (Johnny Flynn), who would later go on to create the outlandish 007 spy stories, would seem to be another flight of the imagination, but even that flourish is based on fact.
The plan, nicknamed Operation Mincemeat, involved tricking Hitler into believing the Allies planned to invade Greece, not Sicily. But how to pull it off? QC-turned-Lieutenant-Commander Ewen Montagu (Colin Firth) and MI5 agent Charles Cholmondeley (Matthew Macfadyen) marshal an audacious disinformation plan to drop a dead man off the coast of Spain, where the Nazi spy chain begins. In the pockets of the corpse’s uniform are “wallet litter,” faked love letters, military ID etc. In his case are “classified” military correspondence indicating the Allies were about to invade Greece. If that information falls into German hands and distracts them, it will allow a full-scale Allied invasion of Sicily.
“Operation Mincemeat” is a spirited recreation of the meticulous planning that went into the scheme to fool the Fuhrer. Director John Madden finds the suspense, the espionage and even the romance in the situation. The first two elements work well, creating a forward momentum that builds excitement as the running time ticks by. The romance between Montagu and Jean Leslie, played by Kelly Macdonald, is less convincing and feels wedged in.
Better are the comedic aspects. While some of the dealings with the dead man evoke memories of “Weekend at Bernie’s,” most of the laughs come from the absurdity of the situation, and feel organic to the story.
A welcome addition to the stranger-than-fiction genre, “Operation Mincemeat” is a well-appointed, well-crafted period piece that avoids the stoicism of other war time espionage thrillers.
“Supernova,” a new relationship drama starring Colin Firth and Stanley Tucci and now available on VOD, is a touching look at memory, the memories that make up a life and what happens when those memories start to fade.
Longtime couple Sam (Firth) and Tusker (Tucci), a formerly famous classical pianist and well-known author respectively, are on a RV trip through the bucolic north of England. It is no ordinary vacation, however. Sam has a rare gig near the end of the planned trip and says, “He’s practically frog-marching me to it. Let’s see if I’m still any good.” But really, for the sixty-something partners, it’s a farewell to the life they’ve known as they transition to the gradual, but steady onset of Tusker’s dementia.
Tusker, convinced that the pills he’s taking aren’t helping, leaves his medication behind in solemn acceptance of what is to come. “There will come a time when I will forget who is doing the forgetting,” he writes. Sam, who put his career on hold for Tusker, isn’t ready to let go of the man who shares his life and occupies his happiest memories. “Where do you think we’ll be in six months?“ Tusker asks Sam. “Together,” Sam quickly replies.
“Supernova” is an unhurried love story, beautifully acted, about memory and control over one’s life.
Tusker has plans for a graceful exit while Sam is convinced love will triumph over whatever comes next. “I want to see this through to the end,” he says. “It’s all I have left.”
Sam grapples with their future in the film’s most heart-rending set-piece. Over dinner the two finally stop talking around the subject of the future and discuss their feelings, raw and unfiltered. Sam struggles with the thought of being alone, Tusker with the loss of control he feels as his memory slips away. “I want to be remembered for who I was,” he says, “and not for who I am about to become. That is the only thing I can control.”
What comes before this scene is warm, occasionally funny, always affecting but the true power of the story is revealed when the guards come down and Sam and Tusker get honest with one another about the reality of the situation. Firth and Tucci bring a lived-in realism to the scene that, in quiet, subtle ways, lays bare the feelings of grief both are experiencing.
Firth, whose icy, stiff-upper-lip performances have not always revealed a deep well of emotion, allows for heartfelt melancholy here in a delicate film that positively drips with compassion and respect.
“The Secret Garden,” the latest adaptation of Frances Hodgson Burnett’s classic 1911 novel, brings the classic story of friendship and wonder to VOD this week.
The tale begins in India in 1947 on the eve of Partition in India. Mary Lennox (Dixie Egerickx), born in India to wealthy English parents, finds herself orphaned when mummy and daddy suddenly pass away in a cholera outbreak. Sent to live with Archibald Craven (Colin Firth, who played a version of his son Colin in a 1987 TV movie of “The Secret Grden”), an aloof uncle she’s never met on his remote and rambling Yorkshire moors estate, the youngster has trouble adapting to life in the large country house under the strict housekeeper Mrs. Medlock (Julie Walters).
While exploring Misselthwaite Manor Mary makes some interesting finds. She meets Colin (Edan Hayhurst), her ailing cousin whose been locked away in one wing of the house. Both are stinging from the loss of a parent—his mother passed—and both feel like outsiders in the family.
When Mary discovers a hidden garden tucked away on the grounds, she and her friend Dickon (Amir Wilson) tend to the forgotten patch of land. Bringing the garden back to life also awakens the place’s natural restorative power that helps Mary, Colin and Mr. Craven heal, physically and spiritually.
Fans of the book should know liberties have been taken with the classic text. The shift to 1947 works, adding an additional layer of meaning to Mary’s story of distress. It helps base the tale in the reality of the situation but the movie allows magic realism to seep in.
That it is from the producer of the “Harry Potter” and “Paddington” movies means that it has a family-friendly fantasy gloss that the original text and other adaptations have done without. The magical elements may only exist in Mary’s imagination and not stem from the wonder of nature as the book suggests, but they are pronounced. There are ghosts and the garden’s trees respond to the kids, almost like Treebeard in “Lord of the Rings: Two Towers.” It adds a more whimsical tone to a story that had previously relied on the more grounded ideas of exercise and fresh air as a road to physical and mental health.
What it all means, really, is that the story isn’t quaint anymore. The new “The Secret Garden” is a handsomely made, big CGI movie that plays like “Masterpiece Theatre” for kids. Closer in tone to “Harry Potter” than author Frances Hodgson Burnett’s original ode to the healing power of love, kindness and nature, it isn’t as soulful as other versions but should appeal to younger audiences who are used to glossy adaptations of books for kids.
“1917” is a simple story of duty wrapped up in a high gloss technological package that delivers a vividly immersive look at life during wartime.
Designed to look like one continuous shot, the action in “1917” begins in the trenches of Northern France with two men, Lance Corporals Schofield (George MacKay) and Blake (Dean-Charles Chapman), assigned a dangerous mission. With telephone lines down, their general (Colin Firth) dispatches the pair travel through No Man’s Land on foot to the front lines. If they can make it past the barbed wire, booby traps and German snipers, they are to deliver the message that the Germans have set a trap, enticing the unwitting British to attack. “If you fail,” says the general, “it will be a massacre.” If Schofield and Blake are successful they could save 1600 lives, including Blake’s Lieutenant brother (Richard Madden). But first they must travel through eight miles of the most dangerous territory on earth.
It’s easy to feel that “1917” is a gimmick film. In the opening scenes I found the continuous, one shot nature of the filmmaking a distraction. I kept wondering, “How is Sam Mendes doing this?” or looking for clever, surreptitious edits. It took me out of the story but once accustomed to the gliding camerawork by the legendary Roger Deakins I began to focus on the story’s tale of bravery and resilience and less on the trickery that created it.
The horrors of war are duly represented—there’s barbed-wire, dead, rotting bodies litter the landscape and a bombed-out town is nothing more than the skeletons of buildings—but “1917” doesn’t focus on that. This is a contemplative story of a mission and the men who sacrifice their own safety for the greater good. It highlights the ever-present danger of attack but it’s the character’s emotional journey that makes for the compelling story. Blake wants to stop his brother from walking into a trap while Schofield is driven by a sense of duty. Both men are working for the collective, which in our era of the individual, is a potent reminder of the importance of cooperative effort.
“1917” is a beautifully grim movie. Death lurks around every corner and the success of Blake and Schofield’s mission is never assured. Hope is a remote, elusive concept in the theatre of war but Mendes weaves in enough humanity—the relationship between the soldiers, a scene with a French mother and her daughter—to give us a window into the horrors of war.
Richard sits down with Dean-Charles Chapman and George MacKay, the two stars of the Fist World War epic “1917” to discuss creating the characters and the challenges of the one-shot technique used to film the movie.
Listen to the whole thing HERE!
SYNOPSIS: At the height of the First World War, two young British soldiers, Schofield (Captain Fantastic’s George MacKay) and Blake (Game of Thrones’ Dean-Charles Chapman) are given a seemingly impossible mission. In a race against time, they must cross enemy territory and deliver a message that will stop a deadly attack on hundreds of soldiers—Blake’s own brother among them.
