RICHARD’S REVIEWS FOR MAY 9, 2014 W “CANADA AM” HOST marci ien.
Film critic Richard Crouse reviews ‘Neighbors,’ ‘Legend of Oz: Dorothy’s Return and ‘Under the Skin’.
Watch the whole thing HERE!
Posts Tagged ‘Hugh Dancy’
THE LEGENDS OF OZ: DOROTHY’S RETURN: 2 STARS. “I smell flying monkeys!”
So says a character in “Legends of Oz: Dorothy’s Return,” a new family film that adds a chapter to L. Frank Baum’s “Wizard of Oz” series.
Where there are flying monkeys you can bet there’ll also be a Scarecrow (Dan Aykroyd), the Tin Man (Kelsey Grammer) and a Lion (as played by James Belushi he’s no longer cowardly and now suggests tearing his enemies “limb from limb.”) and, of course, witch killer Dorothy (Lea Michele) and her little dog Toto. All make appearances but this time around they’re up against a different foe—an evil Jester (Martin Short).
The movie begins several Oz years after Dorothy vanquished the Wicked Witch of the West. In her time, however, only hours have passed. When she wakes in her bed in Kansas the tornado from the original story has just laid waste to her town, but before you can say “Well, howdy, Miss Gulch,” the young girl is sucked up by a giant rainbow and transported to the world of Oz. “You guys,” she says, “dragging me into a giant rainbow really scared me!”
Trouble is, things aren’t so wonderful in Oz. The Emerald City is in turmoil at the hands of a power hungry Jester who is turning the citizenry into marionettes. Dorothy, with the help of new friends Wiser the Owl (Oliver Platt), Marshal Mallow (Hugh Dancy), China Princess (Megan Hilty) and Tugg the Tugboat (Patrick Stewart) must stop the Jester and rescue Scarecrow, the Tin Man and Lion before they are turned into puppets.
There are some good messages for kids in “The Legends of Oz: Dorothy’s Return” about working together—as heard in the clumsily rhymed “out it all together until the job is done, it should be easy, it should be fun”—and the importance of friendship. It’s just too bad they are wrapped up in a film so saccharine it would give the Wicked Witch of the West a sugar rush.
The flying monkeys are still kinda scary but the rest of the movie practically redefines the term “family friendly,” and not in all the best ways. It plays it safe to a fault throughout, smoothing over any edge until there is not much left but some poppy tunes (by Bryan Adams among others) and a story that relies on the goodwill of characters created several generations ago.
“The Legends of Oz: Dorothy’s Return” won’t give Pixar a run for their money and might be best saved for a rainy day rental.
HYSTERIA: 2 ½ STARS
“Hysteria” could easily have been called “Desperate Housewives (of 1880).” Set in 19th century London, the story centers around Mortimer Granville (Hugh Dancy) — a young handsome doctor whose carpal tunnel syndrome led directly to the invention of the vibrator.
The year is 1880 and hysteria is “the plague of our times,” according to Dr. Robert Dalrymple (Jonathan Pryce), a doctor whose magic fingers bring relief to London’s upper class ladies. His solution to their dilemma is simple. He offers manual stimulation until his patients achieve “paroxysm.”
In those days hysteria was a catchall phrase used to encompass all manner of female ailments. According to Wikipedia, “women considered to be suffering from it exhibited a wide array of symptoms including faintness, nervousness, sexual desire, insomnia, fluid retention, heaviness in abdomen, muscle spasm, shortness of breath, irritability, loss of appetite for food or sex, and ‘a tendency to cause trouble.'”
Enter Granville, an idealistic doctor who keeps losing jobs at old-fashioned hospitals because of his new-fangled ideas about germs. He accepts an apprenticeship with Dalrymple and soon his nimble fingers and good looks have attracted the attention London’s desperate housewives and daughter Emily Dalrymple (Felicity Jones). She’s an English Rose who stands in contrast to her sister Charlotte (Maggie Gyllenhaal), a live wire suffragette who is passionate about working with the city’s disadvantaged.
Business booms at the doctor’s office until Granville suffers hand and wrist ailments from vigorous overuse. In short order he co-invents the world’s first vibrator with the help of his friend Lord Edmund St. John-Smythe (Rupert Everett). He also discovers true love and the true nature of hysteria.
Despite its racy premise “Hysteria” is rather tame. As social commentary it’s lightweight, shedding little light on the repressive Victorian attitude toward women and sexuality. Sure, the female patients know exactly what the cause of their so-called hysteria is and Gyllenhaal speechifies on women’s rights, but a movie about the invention of the tool that revolutionized sexuality should focus on that and not the predictable rom-com love triangle.
As a comedy it misses the opportunity for big laughs by under-using Everett, whose hammy performance breaks through the stodgy Englishness repressiveness of the setting. The slapstick and masturbation hat make up much of the movie and wears out their welcome early on.
Still, there is something inoffensive about the movie. It’s a sweet attempt to tell an unusual story, but feels like a missed opportunity — which is why “Hysteria” didn’t work for me as well as it might have. I expected more than a comedy of manners with an off-colour edge from the story. This is a rental, not a night out.
Hysteria a ‘stimulating’ story By Richard Crouse May 18, 2012 Metro Canada
Hugh Dancy, right, plays Mortimer Granville, a handsome doctor in 1880s England who cures women of ‘hysteria.’
Actor Hugh Dancy says the pitch for his new movie, Hysteria, was remarkably simple.
“All I got was essentially the tagline,” he says, “The Invention of the Vibrator.”
“I had some awareness of the premise,” he says, “so it wasn’t a complete revelation to me, but what I liked was the tone the movie struck between broad comedy and something much sweeter.”
He plays Mortimer Granville, a young, handsome doctor in 1880’s England, whose specialty is treating women with a medical condition known as hysteria.
Called the “plague of our times,” the now-discredited condition was a catchall to encompass all manner of female infirmities, including insomnia, nervousness, sexual desire, shortness of breath and even “a tendency to cause trouble.”
The condition was treated with… ahem… manual stimulation performed by doctors like Granville, until patients achieved “paroxysm.” “They thought they were shifting the uterus,” he says.
“That basic fact, which is the source of all the comedy and the fun thing in the movie,” Dancy says, “is the one thing that was absolutely accurate.”
Dancy, who has been married to actress Claire Danes since 2009, downplays the shooting of the awkward scenes, even though the doctor’s ‘magic-finger’ treatments provide some of the movie’s most memorable moments.
“We had some very accomplished and very game actresses come in and hoist themselves up onto an operating table and then we shot what you see in the movie.”
But the story doesn’t completely centre around the unorthodox medical treatment. As the actor says, it’s a “witches’ brew” of ideas, including romantic comedy, some social commentary on women’s rights and a history on the tool that revolutionized sexuality. “Any one of them on their own would make for a far less interesting movie,” says the actor, who will next be heard in the animated Dorothy of Oz, co-starring Lea Michele and Patrick Stewart.
“Obviously there are plenty of interesting movies to be made around the subject of women’s rights, but if the bits of this movie that address that had been extrapolated into a whole movie, I don’t think it would have added up to much.”
ADAM: 3 ½ STARS
Near the end of Adam the titular character (Hugh Dancy) says, “I’m not Forrest Gump you know.” True enough. Adam may have Asperger’s Syndrome, but director / screenwriter Max Mayer has avoided most of the sentimental pitfalls that make the Tom Hanks movie an exercise in how not to make a movie about someone who is not “neurotypical.” Most, but not all.
The story begins just as Adam’s father has passed away. His lonely life of routine—he eats the same thing everyday and has a phobia of change—is shaken when a pretty young woman named Beth (Rose Byrne) becomes his upstairs neighbor. The two begin a romance, even though Adam, because of his Asperger’s Syndrome, is unable to express his feelings. Nonetheless they create a connection; a fragile bond that stressed by her family and his job woes.
Adam had the potential to be a maudlin movie about a doomed romance but instead is a smart story about obstacles that get in the way of fulfilling relationships. To convincingly drive the story home Mayer has cast two very appealing actors in the lead roles.
Dancy has the showier part, but where he could have played Adam as simply deadpan he instead manages to bring the character to life, taking a role that could have been a collection of obsessions and awkward social interactions and molding it into a real character the audience cares about.
Dancy may have the flashier role, but Byrne brings heart to the film. Her take on Beth is simple and sweet. In a raw, but understated performance she plays a woman who is searching for truth in her life. After a complicated romantic relationship and difficulties with her father she finds Adam’s honesty—it’s a trait of his Asperger’s—refreshing. His bluntness can be difficult at times, but one of the pleasures of the movie is watching the way she learns to communicate with Adam, becoming skilled at saying exactly what she means with no room for interpretation. It’s a complicated dance between the two, but one that is played for real and with little sentimentality.
Little sentiment, that is, until the end. Mayer breaks some of the rules of the usual made in Manhattan romantic film, but chooses to close with a sequence that undermines the tone established in the rest of the film. It’s not a deal breaker, the rest of the movie is too good to be ruined by a schmaltzy ending, but I would have preferred a coda that was more in line with the film’s first ninety minutes.
