Showing posts with label Cate Blanchett. Show all posts
Showing posts with label Cate Blanchett. Show all posts

Sunday, 21 September 2025

Movie Review: Black Bag (2025)


Genre: Spy Drama  
Director: Steven Soderbergh  
Starring: Michael Fassbender, Cate Blanchett, Naomie Harris, Pierce Brosnan, Marisa Abela  
Running Time: 94 minutes  

Synopsis: British counterintelligence officer George Woodhouse (Michael Fassbender) has to find out which intelligence team member sold a top secret cybersecurity weapon to enemy agents. One of the suspects is George's own wife Kathryn (Cate Blanchett), the head of the signals division. Other possible traitors include up-and-comer James (Regé-Jean Page), satellite imagery specialist Clarissa (Marisa Abela), staff psychiatrist Zoe (Naomie Harris), and case officer Freddie (Tom Burke). George has to safeguard his marriage while deploying mind games and state-of-the-art surveillance to uncover the culprit.

What Works Well: An amalgamation of John le Carré and Harry Palmer with a dash of the Smiths, this is a mostly grim but sometimes wry spy whodunnit. Michael Fassbender elegantly channels Michael Caine and creates in George Woodhouse a cold-as-ice agent who made his legend destroying his own father (deservedly so). He now faces a moment of truth with his wife, having to rely on deep reservoirs of trust to counteract mounting evidence of guilt. All the suspects are adept at playing spy games, and director Steven Soderbergh gets into a groove of simultaneously presenting and casting doubt on all the necessary details. 

What Does Not Work As Well: The tone awkwardly oscillates between serious and absurd, and the dialogue is more glib than thoughtful. For a group of supposedly clever spies, way too many of these characters are bedding each other and losing control of their emotions and libido. 

Key Quote:
Clarissa: When you can lie about everything, when you can deny everything, how do you tell the truth about anything?



All Ace Black Movie Blog reviews are here.

Friday, 2 August 2024

Movie Review: Truth (2015)


Genre: Biographical Political Drama  
Director: James Vanderbilt  
Starring: Cate Blanchett, Robert Redford, Dennis Quaid, Stacy Keach, Bruce Greenwood, Topher Grace, Elisabeth Moss, Dermot Mulroney  
Running Time: 125 minutes  

Synopsis: Ahead of the 2004 US presidential election, 60 Minutes television show producer Mary Mapes (Cate Blanchett) investigates President Bush's National Guard service record during the Vietnam War era. She works with anchor Dan Rather (Robert Redford) and a team consisting of Mike Smith (Topher Grace), Colonel Roger Charles (Dennis Quaid), and Lucy Scott (Elisabeth Moss). Retired and ailing National Guard member Bill Burkett (Stacy Keach) produces copies of documents that tarnish Bush's record. But after the story airs, doubts are raised about the documents' authenticity, placing Mary's team under intense scrutiny.

What Works Well: The adaptation of Mary Mapes's book unfolds in two distinct chapters: the first half is the lead-up to the broadcast of the 60 Minutes episode about Bush's military service record. The much better second half is the aftermath, as the team of CBS journalists and their managers deal with immediate blowback. Once doubts are cast upon the critical documents, the investigative team switches from offense to defence, and the forces aligned against them prove formidable. Cate Blanchett's powerhouse performance contains space for the murky conflict between personal beliefs and journalistic integrity, while Robert Redford's sage presence invites reflection on the rise and fall of corporate television news. 

What Does Not Work As Well: The opening 45 minutes are occupied with a deadline-driven rush to investigate the President's record, and become cluttered with too many names of too many incidental characters, the search for details getting in the way of good story telling. And while the reporters are scurrying about in a frenzy, no one pauses to ponder the relative insignificance of a story about skipping obscure National Guard duties 30 years prior.

Conclusion: And dare.



All Ace Black Movie Blog reviews are here.

Saturday, 17 February 2024

Movie Review: Where'd You Go, Bernadette (2019)


Genre: Comedy Drama  
Director: Richard Linklater  
Starring: Cate Blanchett, Billy Crudup, Kristen Wiig, Laurence Fishburne, Judy Greer  
Running Time: 109 minutes  

Synopsis: In Seattle, Bernadette Fox (Cate Blanchett) lives in a fixer-upper mansion with her husband Elgie (Billy Crudup), a Microsoft executive, and their teenaged daughter Bee. Bernadette was once a rising star in the world of architecture, but stopped working after a series of set-backs. She now avoids socializing, relying on an India-based digital assistant for most tasks, and particularly dislikes her intrusive neighbour Audrey (Kristen Wiig). When Bee proposes a family trip to Antarctica, Bernadette's stress levels spike.

What Works Well: The first two thirds offer a razor-sharp comic-dramatic portrait of a strong-willed woman in emotional trouble. With Cate Blanchett in fine form, director and co-writer Richard Linklater adapts Maria Semple's book with an emphasis on Bernadette gliding through life using a caustic attitude to avoid confronting depression. Laughs combine with revelations, all anchored by a warm mother-daughter relationship offering an escape route from the doldrums.

What Does Not Work As Well: The final act is a bland let-down, descending into a schmalzy combination of glacier scenery and simple solutions suddenly available in the remotest corner of the planet. Some characters, including a therapist (Judy Greer) and an FBI agent, enter with a flourish but are then summarily abandoned. 

Conclusion: Bernadette sparkles when restless in Seattle, but slips when surrounded by ice.



All Ace Black Movie Blog reviews are here.

Saturday, 15 April 2023

Movie Review: Veronica Guerin (2003)


Genre: Biographical Crime Drama
Director: Joel Schumacher
Starring: Cate Blanchett, Ciaran Hinds, Gerard McSorley
Running Time: 98 minutes

Synopsis: In Ireland of the 1990s, a heroin epidemic is ravaging youth in poor neighbourhoods. Veronica Guerin is the crime reporter for the Sunday Independent newspaper and starts to investigate gang leader Martin Cahill, who is then promptly killed. Veronica's underworld contact John Traynor (Ciaran Hinds) points the finger at rival gangster Gerry Hutch, but in fact it is ruthless crime boss John Gilligan (Gerard McSorley) who is intent on dominating the drug trade. As Veronica digs into Gilligan's affairs, her life is threatened. 

What Works Well: Based on actual events that shocked Ireland and prompted sweeping proceeds-of-crime law reforms, this gangland exposition is fueled by a reporter's bravura. Director Joel Schumacher confronts the grim toll of drugs igniting agony and violence at street level while yielding massive profits for the criminal pyramid leaders. Cate Blanchett exhibits endless energy and resolve in the lead role as Veronica Guerin barges through the front door of the drugs business, bluntly seeking answers from gangsters, police officers, and policymakers tolerating lax laws. Colin Farrell appears in a small role.

What Does Not Work As Well: More a chronicling of events than a stirring narrative, the character evolutions are limited, and almost everyone starts and finishes the movie in the same emotional space. The attempts to humanize Veronica's home life are unimaginatively repetitive, while the supporting characters (mostly thugs and bland officials) are poorly defined and abandoned in one dimension. 

Conclusion: The subject matter is potent and the central character radiant, but the overall treatment is lackluster.



All Ace Black Movie Blog reviews are here.

Sunday, 26 February 2023

Movie Review: Tár (2022)


Genre: Drama
Director: Todd Field
Starring: Cate Blanchett
Running Time: 158 minutes

Synopsis: Lydia Tár (Cate Blanchett) is one of the world's most admired orchestra conductors, now in charge of the Berlin Philharmonic. Her orbit includes wife and first violin Sharon (Nina Hoss), daughter Petra, personal assistant and aspiring conductor Francesca (Noémie Merlant), assistant conductor Sebastian, and investment banker and amateur conductor Eliot (Mark Strong). Lydia is arrogant, confident, blunt, ruthless, and manipulative, with an eye for spotting - and perhaps romantically pursuing - young talent. In an era of heightened political correctness and new behavioural norms, cracks start to appear in her perfect life.

What Works Well: Writer, director and co-producer Todd Field explores the dizzying heights and dangerous pitfalls of upper crust modern celebrity culture. The gay female protagonist ticks many qualification boxes for universal adoration, but her hard driving smugness carries the seeds of ruin when accusations equal guilt. The script embraces translucency, hinting at rather than defining Tár's darker elements. Cate Blanchett delivers a bravado performance, with only occasional forays into theatricality, while cinematographer Florian Hoffmeister uses fluid, long takes to supplement the intellectual milieu.

What Does Not Work As Well: Indigestible levels of pretentiousness are tested with the front-loaded credits, the verbose and haughty dialogue filled with arcane references, and the ridiculous length cluttered with inconsequential scenes.

Conclusion: A curated study of character and culture, infused with pomposity.



All Ace Black Movie Blog reviews are here.

Thursday, 9 June 2022

Movie Review: The Missing (2003)

A soulful western, The Missing depicts a traditional rescue journey into hazardous terrain, spiked with moments of ferocious cruelty.

The setting is New Mexico in the late 1800s. Samuel Jones (Tommy Lee Jones) makes a surprise return to the isolated ranch of his grown daughter Maggie (Cate Blanchett). He had abandoned the family to join the Chiricahua tribe when Maggie was a child, and she never forgave him. Now Maggie is raising two daughters, teenager Lilly (Evan Rachel Wood) and the younger but more spirited Dot (Jenna Boyd). Brake (Aaron Eckhart) is Maggie's unofficial partner.

A renegade group of Apache sex slavers led by the evil El Brujo (Eric Schweig) kills Brake and kidnaps Lilly, intending to sell her along with other captive women in Mexico. Getting no assistance from the authorities, Maggie reluctantly seeks Jones' help, and Dot insists on joining them on a perilous journey to rescue Lilly.

Carrying strong echoes from the classic John Wayne western The Searchers, The Missing is an ode to the genre's fundamentals. Written by Ken Kaufman and directed by Ron Howard, the plot is anchored by a dangerous but necessary rescue campaign, with a sub-theme of forgiveness sought and withheld between father and daughter. The movie is slow but determined, dripping with the power of robust characters and the dangers of a challenging landscape captured by cinematographer Salvatore Totino.

Despite a long running length of well over two hours, Howard maintains interest with regular highlights. A jagged path through a rocky mountain becomes a drowning hazard during a downpour. The previously sheltered and unappreciative Lilly, now a captive, discovers her inner resolve during interludes with the slavers and their bounty of kidnapped women. A sub-plot of allies is introduced in the story of a Chiricahua father and son who join forces with Samuel and Maggie to try and free their own captive from El Brujo's clutches.

During the quiet interludes, Maggie refuses to easily forgive the father who abandoned her and hastened her mother's death. Jones can only be true to himself, and accepts the emotional punishment with stoic resignation. The sustained tension between them adds welcome character depth.

Violence spices up the mix. Kaufman and Howard do not hold back on El Brujo's willingness to use supernatural powers, witchcraft, and torture to intimidate and thrive. In a harrowing and difficult sequence, Maggie, Jones and Dot stumble onto the site of El Brujo's barbarism, and the remnants of his savagery are abhorrent. He is a formidable opponent, brought to life by a domineering Eric Schweig performance full of physicality and few words. Opposing him is Tommy Lee Jones at his craggy best carrying the burden of a mistake-filled life, well matched by a tenacious Cate Blanchett refusing to give up on finding her daughter.

The Missing lacks premise originality, but finds a rugged and respectful genre salute.



All Ace Black Movie Blog reviews are here.

Tuesday, 29 March 2022

Movie Review: Nightmare Alley (2021)

A drama about greed, Nightmare Alley is gorgeously photographed but poorly paced and emotionally sparse.

In 1939, Stan Carlisle (Bradley Cooper) burns the body of his dead father and drifts across the land. He finds work with the traveling carnival owned by Bruno (Ron Perlman), where the main attraction is a geek show. Stan meets Zeena (Toni Collette), who runs a clairvoyant act with the perpetually drunk Pete (David Strathairn). Stan eyes the communication codes used by Zeena and Pete as his ticket to riches, and convinces performer Molly (Rooney Mara) to partner with him in both romance and business. He ignores warnings about the dangers of dabbling in the afterlife.

Stan and Molly find success with an upscale clairvoyant act in big city hotels, attracting the attention of conniving psychologist Dr. Lilith Ritter (Cate Blanchett). She agrees to an uneasy scheme, providing Stan confidential information about her wealthy clients Judge Kimball (Peter MacNeill) and the tycoon Ezra Grindle (Richard Jenkins), while he dupes them with fake seances. Molly disapproves of Stan's greed and intrusion into the spirit world, but he pushes ahead.

Directed and co-written by Guillermo del Toro, Nightmare Alley is an adaptation of the William Lindsay Gresham book, previously brought to the screen in a 1947 Tyrone Power classic. Here del Toro switches to colour, and with the help of Dan Laustsen's stellar cinematography delivers stunning beauty. Every scene is a masterpiece of picturesque framing and angular tension highlighting a noir psyche, although the glossy visuals threaten to slip into postcard artificiality.

Beyond the rich artistry, Nightmare Alley is bloated and unbalanced. The relatively simple rise-and-fall story of one man stretches to a tiresome 150 minutes, and often focuses on the wrong elements. It's a full one hour into the movie before Stan and Molly leave the carnival, and in that entire time, Zeena and Pete's show is never once presented as an effective act inspiring Stan's ambition. Once Stan and Molly achieve success, they are denied the thrill of commanding a room and instead are immediately reduced to a bickering couple. Without a reservoir of trust and affection, the rupture of their relationship loses impact.

del Toro's favorite theme of monsters among us gets a good workout. The chicken-biting geek is a monstrous representation of comeuppance as a freak show with audiences marveling at how low a man can fall. Meanwhile, both Stan and Dr. Lilith struggle with insatiable urges for emotional domination and avarice, their monsters within engaged in dark battles of possession.

Cate Blanchett as Dr. Lilith adds a jolt of intrigue once she enters the movie about halfway through, finally presenting Stan with a soul more twisted than his own. But Lilith plays in a higher league: she is sophisticated, successful, and resourceful, while he is a scrappy small-timer with misguided delusions of grandeur. His initial victory in guessing the contents of her purse was never going to be anything more than beginner's luck, and she predictably designs his downfall with methodical relish.

In the lead role Bradley Cooper is adequate and charismatic without quite finding the necessary level of behind-the-eyes intensity. Rooney Mara is underutilized, and the rest of the cast includes small roles for Willem Dafoe and Mary Steenburgen.

Nightmare Alley is visually vibrant, but rarely visceral.



All Ace Black Movie Blog reviews are here.

Monday, 3 January 2022

Movie Review: Don't Look Up (2021)

An end-of-the-world satire, Don't Look Up holds a mirror to a fractured society where imminent planetary annihilation is a topic of entertainment and debate.

At Michigan State University, astronomy doctoral student Kate Dibiasky (Jennifer Lawrence) discovers a new large comet, with a trajectory to strike and destroy Earth in 6 months. She alerts her Professor Dr. Randall Mindy (Leonardo DiCaprio), and they are soon connected with Dr. Teddy Oglethorpe (Rob Morgan), head of the Planetary Defense Coordination Office. They are granted an audience with US President Janie Orlean (Meryl Streep) and her Chief of Staff (and son) Jason (Jonah Hill), who don't take the threat seriously.

Randall and Kate take their story to the media, landing at the top-rated television show hosted by Brie (Cate Blanchett) and Jack (Tyler Perry). Brie's main takeaway is that Randall is a dishy scientist and she sets out to seduce him. Meanwhile the end-of-the-world threat starts to cause panic, but also political divisions, with the science being questioned. When powerful cellular phone and social media tycoon Peter Isherwell (Mark Rylance) announces the comet contains precious minerals worth trillions, attempts to destroy it are abandoned in favour of trying to exploit the riches, causing further divisions between sidelined scientists and power-hungry politicians.

Both the funniest thing and the scariest thing about Don't Look Up is that it's all too real. Sure, writer and director Adam McKay cannot resist triple-underlining some of his satirical jabs, but unlike in his previous outing, here the glib attitude is controlled and the hits well outnumber the misses.

The premise of a massive comet about to strike Earth may well be the next cataclysmic event facing humanity, but could also stand in for climate change, the next pandemic, or any other large casualty threat. With recent history as an excellent guide, the reactions portrayed in Don't Look Up are more than believable. Memes, ratings, personal attacks, personality cults, denial of science, obfuscation campaigns, political calculus, and profit motives overwhelm the simple truth, inflicting unnecessary death in large numbers.

In a manic example of cramming more as a representation of what counts as important, side-plots and intentional distractions litter the film, some funnier than others. Brie cannot wait to claim Randall as a sexual conquest, threatening his marriage to June (Melanie Lynskey). President Orlean is embroiled in an ever-worsening scandal related to her Supreme Court appointee (Erik Parillo). A politically incorrect pilot (Ron Perlman) leads the initial suicide mission to the comet. After being shunned by the world and having the comet named after her, Dibiasky befriends skater dude Yule (Timothée Chalamet). And most notably, pop star Riley Bina (Ariana Grande) is going through a romantic break-up and reconciliation, a story deemed much more important than the impending end of the world.

A dream cast sharpens all the satirical angles. Despite the abundant talent pool at his disposal, McKay finds meaningful and memorable roles for each, helped by the long 138 minutes of running time. Leonardo DiCaprio has fun as an anxiety-wracked scientist suddenly thrust into the spotlight and labeled an AILF (Astronomer I'd Like to F**k). Mark Rylance is the other stand-out as the truly creepy (no eye contact) tech tycoon holding all the true power, his line delivery a study in understated bludgeoning. Less successful is Jonah Hill as the nepotistic appointment who actually believes he is smart, his contributions rarely clicking.

Openly flirting with species-get-what-they-deserve resignation, Don't Look Up is depressingly funny. 



All Ace Black Movie Blog reviews are here.

Saturday, 25 September 2021

Movie Review: Robin Hood (2010)

A medieval drama and romance, Robin Hood creates an epic backstory for the legendary outlaw.

The year is 1199, and Robin Longstride (Russell Crowe) is an archer in the army of Richard The Lionheart (Danny Huston), as England's King fights his way back home from the crusades. But Richard is felled by an arrow at a battle in France, and his weakling brother Prince John (Oscar Isaac) ascends to the throne. Robin impersonates the dead knight Sir Robert Loxley and along with a small group of men they make it back to England.

Meanwhile John is being undermined by his double-crossing friend Godfrey (Mark Strong), who is really working for France's King Philip to weaken England and enable an invasion. In Nottingham Robin meets and falls in love with Marion Loxley (Cate Blanchett), while her father, the elderly and blind Walter (Max von Sydow), helps Robin understand his lineage. 

John's extreme taxation policies and Godfrey's raids on fellow Englishmen push the country towards civil war and serve Philip's agenda. Robin teams up with Lionheart loyalist William Marshal (William Hurt) to try and avert disaster.

Running a luxurious 140 minutes with content to match, Robin Hood is an engrossing drama, mixing historical factoids with plenty of rambunctious fiction. Director Ridley Scott re-teams with his Gladiator star Russell Crowe, and although the results are not quite as spectacular, this is still a finely crafted tale of swords, bows, and arrows, rich with story lines, court intrigue, memorable characters and no shortage of large-scale bone-crunching battles.

The Brian Helgeland screenplay steers well clear of the frivolity, simplistic heroics and light-heartedness associated with previous cinematic Robin Hood versions. This is a mud-splattered and grim outing, levity limited to a couple of brief dialogue exchanges, the merry men pushed well into the background. In search of a wider audience Scott avoids blood and gore visuals, but this adventure would have benefited from more realistic representations of the era's brutality.

Crowe's dour Robin suits the England-in-crisis surroundings. Untethered from any clan, he is haunted by a lost father and too many battles on the way to and from Jerusalem. The supporting cast is brimming with talent, von Sydow, Isaac, Hurt and Strong joined by Matthew Macfadyen as the Sheriff of Nottingham (here a relatively minor character), Léa Seydoux as Isabella (Prince John's ambitious lover) and Eileen Atkins as Eleanor of Aquitaine (his concerned mother).

The narrative weakness resides in Robin's relatively limited influence on events around him. For the most part he is on the edge of the major plot points, first with Richard the Lionheart's army then back in England where John, Godfrey and Marshal are driving the agenda. Even in the quieter moments at the Loxley estate, Robin's surroundings and fate are defined by Walter's wisdom and Marion gradually learning to love him.

Robin's personality does emerge on a few occasions, speaking truth to power (and paying for it) when invited to do so by Lionheart, recognizing the opportunity to impersonate a knight as a ticket home, and then helping Marion's fledgling estate avert starvation by plotting his first steal-from-the-rich escapade. 

Now provided with a pre-banditry history of hostility and hurt, Robin Hood emerges as a more hardened legend.



All Ace Black Movie Blog reviews are here.

Sunday, 22 March 2020

Movie Review: Ocean's Eight (2018)


A heist thriller, Ocean's Eight features an all-women gang plotting a daring diamond heist at the dressy gala event of the year. The female perspective is empowering, but the plot and characters are middling.

Debbie Ocean (Sandra Bullock), sister of the infamous Danny, is released from prison after serving more than five years for theft and fraud. She sets about assembling a team of women for her next big job. Lou (Cate Blanchett) is Debbie's frequent partner-in-crime, Tammy (Sarah Paulson) is a fence hiding behind a suburban family facade, Nine Ball (Rihanna) is a top-notch hacker, Constance (Awkwafina) is a light-fingered thief, and Amita (Mindy Kaling) is a jewelry maker.

Their target is the New York Metropolitan Museum of Arts annual fundraising gala. The event's star attraction is actress Daphne Kluger (Anne Hathaway), and Debbie recruits fashion designer Rose Weil (Helena Bonham Carter) to ensure Daphne wears a precious Cartier necklace worth $150m for the evening. The plot to steal the necklace involves spiked soup, security camera blind spots and a special role for Debbie's former partner, smarmy art dealer Claude Becker (Richard Armitage).

While there is merit in re-imagining familiar stories with women in lead roles, the inherent added value can be limited. Ocean's Eight is slick, vivid and sparkly, but other than featuring women as instigators, barely adds anything new to the heist genre. Indeed, the details of the theft are less clever than most. A security camera nudged into a blindspot is not the most thrilling innovation, and becomes essentially ridiculous when the full extent of the plan is later revealed.

The film is sprinkled with wit and some humour, but also lacks character depth and any sense of genuine surprise. Other than Debbie and her spectral bond with Danny (presumed dead, but she has her suspicions) and grizzled friendship with Lou, the other characters threaten to be interesting but are singularly defined by their expertise and receive precious little opportunity to evolve.

As for attempts at unexpected delights, Ocean's Eight introduces a late and unnecessary twist that lands flat and only serves to underline the script's lack of confidence in its own core narrative.

Director and co-writer Gary Ross twiddles the style knobs and recognizes the value of a star-studded cast willing to have some fun, and the film rides their energy. Bullock (determined), Blanchett (circumspect) and an especially ditzy Hathaway generate their own momentum, almost independent of the plot details.

Helena Bonham Carter is unfortunately saddled with a caricature representation of an eccentric fashion designer, while Sarah Paulson's Tammy is bland enough to be instantly forgettable. Rihanna, Awkwafina and Mindy Kaling add diversity but are strictly confined to stereotypes of hacker, thief and jewel maker respectively.

On the positive side, the final act features an intervention by insurance investigator John Frazier (James Corden), an acid-tongued Brit capable of seeing through every conceivable lie. His presence adds a jolt of cheeky electricity as he skewers everyone to determine the fate of the precious necklace. He's a man navigating a maze carefully constructed by a group of sharp women, a welcome reversal of fortune even if the content is familiar for any gender.






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Saturday, 20 July 2019

Movie Review: Notes On A Scandal (2006)


A drama about loneliness and lust, Notes On A Scandal is a compact and explosive examination of two women suffering through different forms of desperation.

In London, Barbara Covett (Judi Dench) is nearing retirement as a history teacher at a tough school. Lonely and never married, she confines her deepest thoughts to her diary. At the start of the school year Barbara spots new art teacher Sheba Hart (Cate Blanchett) struggling to deal with raucous student behaviour, and befriends her. Sheba is married to the much older Richard (Bill Nighy) and returning to work after taking 10 years off to care for her son Ben, who has Down's Syndrome.

Just as their friendship is solidifying, Barbara discovers Sheba having an affair with 15 year old student Steven Connolly (Andrew Simpson). Sheba admits all the details of the passionate affair to Barbara and pleads with her to delay telling the administration until after Christmas. But Barbara has other plans, and assures Sheba her secret is safe as long as Sheba breaks off the relationship with Steven.

The serious issue of loneliness among the elderly is rarely tackled on film, and Notes On A Scandal rectifies the omission with relish. Barbara is a fascinating character to place at the middle of any story, and Judi Dench brilliantly captures the complexity of a lonely but proud woman drowning in dwindling expectations, her mind justifying the creeping dark shadow of manipulative and stalking behavior.

Zoë Heller's book is adapted into an efficient 91 minute screenplay by Patrick Marber, and director Richard Eyre makes potent use of every scene. Driven by Philip Glass' soundtrack and without any dawdling the film breathes deeply from a school environment beset by a teachers' mood of prevalent resignation and hormonally-driven students who would rather be anywhere else. Any hint of an optimistic narrative about an inspirational teacher helping even one student rise above is stomped into the grey concrete, and Notes On A Scandal sets off to uncover the thriving weeds of selfish immorality growing between the cracks.

If Barbara is the silent hunter hiding behind the proper stiff mannerisms of an unloved but respected veteran, Sheba is the wispy newcomer escaping a stressful home environment overrun with childcare responsibilities. She was a 20 year old ingenue student when she wrecked Richard's first marriage, and now she is incurably attracted to her own affair with a toyboy. Sheba's indiscretion renders her hopelessly vulnerable and exposed to Barbara, and the two women are soon locked in an impossible embrace of dependence.

Blanchett remarkably matches Dench's performance with her own rendition of a woman slowly cut adrift from rational behaviour, Blanchett convincingly occupying Sheba's fragile head space as she risks family and career.

The third act does veer towards a couple of overclocked meltdowns, but overall Notes On A Scandal maintains focus on the insidious damage caused by the yawning gap between hope and reality. Barbara and Sheba may be a generation apart, but they are on the same emotional collision course.






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Thursday, 10 May 2018

Movie Review: Hanna (2011)


A chase thriller, Hanna has a mildly intriguing premise but is an otherwise lacklustre exercise in routine run-and-chase action.

Teenager Hanna (Saoirse Ronan) is being brought up in the Arctic wilderness away from any social contact by her father Erik (Eric Bana). He trains her to be a ruthless warrior and an expert in survival and multiple languages. When Hanna finally grows restless, Erik allows her to activate a beacon revealing their location to the CIA. Agent Marissa Wiegler (Cate Blanchett) immediately picks up the signal and sets in motion a plan to capture both Erik and Hanna.

Marissa and Erik shared a history within a secretive human DNA-altering CIA program before he broke away to care for Hanna. Now he is plotting revenge, and eludes his captors as he makes his way across Europe to a rendezvous point. Hanna allows herself to fall into Marissa's clutches, before embarking on a wild run from Morocco to Europe that sucks in an American tourist family. Meanwhile, Marissa turns to the unauthorized assassination team of Isaacs (Tom Hollander) to try and clean up the mess.

Directed by Joe Wright, Hanna deserves some recognition for attempting to introduce a new spin to the thriller genre. The opening 30 minutes, featuring Erik and Hanna living an off-the-grid arctic existence with the sole purpose of perfecting Hanna's endurance, survival, navigation and hunting skills, are a provocative proposition. Wright builds curiosity around the father-daughter pair, and a sturdy foundation is laid for the story to come.

Unfortunately, the rest of Hanna fails to live up to expectations. Once Hanna and Erik re-enter the civilized world, the film descends rapidly into most routine territory. The final hour is a succession of chase, fight and shoot scenes connected by the most rudimentary and underdeveloped plot points. Character development is forgotten in favour of the next set piece. While these are undeniably well-staged, Wright leaves his actors with precious little to work with, Saoirse Ronan stuck with a single expression of mild annoyance and Cate Blanchett channeling Cruella Deville. Eric Bana all but disappears from the film.

The one distraction from the mundane surroundings is offered by Hanna finding refuge with a clueless tourist family motoring through North Africa and Europe in an old-fashioned motorhome. Dad Sebastian (Jason Flemyng), mom Rachel (Olivia Williams), daughter Sophie (Jessica Barden) and son Miles have no idea who Hanna is but she tags along, sometimes invited but mostly not. Some depth potential is offered in the burgeoning bond between Hanna and Sophie, but like almost everything in the film, that promise is trampled in the rush to the next implausible fracas with the bad guys.






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Saturday, 29 April 2017

Movie Review: Cinderella (2015)


A fairy tale fantasy romance, Cinderella hits perfectly pure notes in retelling the story of one woman overcoming hate with kindness.

Ella (Lily James) is simple rural girl brought up by kindly parents. Her mother dies when Ella is still a child, and on her death bed she pleads with Ella to always have courage and be kind. Her father (Ben Chaplin) remarries, but Ella's new Stepmother (Cate Blanchett) is an evil and selfish woman, while her two step sisters Drisella and Anastasia are conceited and rude. When Ella's father dies, her Stepmother reduces her to the status of a maid and the stepsisters nickname her Cinderella. Her only friends are a group of house mice, but still Ella does not lose her commitment to kindness.

On a ride through the forest Ella has a brief encounter with the charming Prince (Richard Madden), and the two are immediately enchanted with each other. The Prince is about to succeed his ailing father the King (Derek Jacobi), and a grand ball is arranged for the Prince to choose a wife, with all the maidens in the land invited. Stepmother and the two stepsisters get themselves ready, but cruelly prevent Ella from attending the ball -- until Cinderella's Fairy Godmother (Helena Bonham Carter) intervenes.

Directed by Kenneth Branagh, Disney's live action non-musical remake of the 1950 animated classic creates magic of its own. Targeting a family audience with a laser focus on story rather than sarcasm, irony, or gimmicks, Cinderella is a throwback to simpler times, and yet effortlessly succeeds in updating the message of tolerance and hope in the face of animosity and antagonism.

Recognizing the inherent magic of the story, the film steers well clear of silly cutesiness. There are no talking animals and the few friendly mice and one mean cat are deployed in just the right amount. Otherwise Branagh allows the film to breathe deeply from the magical fantasy elements. A particular highlight is the centerpiece palace ball scene, starting with the Fairy Godmother's arrival all the way through to the carriage turning back into a pumpkin. The CGI is seamlessly woven into the action, with editing smooth enough for eyes young and old to appreciate the wizardry.

It's not easy updating the character of a genuine Ella for a more modern audience, but the Chris Weitz screenplay focuses on virtues of tolerance and kindness reinforced with steely determination, and Lily James pulls off the role with glowing restraint. The Stepmother tests the limits of Cinderella's compassion, Cate Blanchett amplifying the character's hateful attributes while just hinting at a woman gone stone cold due to a stream of broken expectations.

The film looks rich and magnificent, with colours often subdued around Ella to allow her to literally shine. The sets are grand and imposing, Branagh finding impressive perspectives to fill the screen with activity and detail. The story may be familiar, but with charm and ambition, this Cinderella earns her own place as an inspiration for young hearts and minds.






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Saturday, 1 April 2017

Movie Review: Paradise Road (1997)


A World War Two prison camp drama, Paradise Road places western women under the custody of brutal Japanese captors and then cues up every well-worn prison camp cliché.

It's early in 1942 and British-controlled Singapore unexpectedly falls to the advancing Japanese army. Western women and children are hurriedly evacuated by sea out of the city, but Japanese air force bombers catch up with their vessel and sink it. Survivors swim to shore and find themselves on the island of Sumatra. They are soon captured and imprisoned by the occupying Japanese troops.

The women at the camp include stubborn British diplomat's wife Adrienne (Glenn Close); kindly missionary Margaret (Pauline Collins); American socialite Topsy (Julianna Marguiles); German Jew Dr. Verstak (Frances McDormand); young Australian nurse Susan (Cate Blanchett); and the beautiful Rosemary (Jennifer Ehle), whose husband is also interned in a nearby prison for men.

Life in the women's prison camp is tough, with the sadistic Japanese guards often deploying torture and intimidation to control the women. They are forced to work as slaves in the fields, while medical supplies and food are scarce. To lift the women's spirits, Adrienne and Margaret decide to organize the women into a choir. The singing gradually brings the women together, but the war appears endless and there are more agonies to come.

Directed by Bruce Beresford and inspired by real events, Paradise Road is a story of survival under enormous physical and emotional stress. While the women's ordeal is undoubtedly harrowing, this life-as-a-prisoner-of-the-Japanese-is-hell territory has been very well explored in previous movies, and Beresford struggles to add anything new. The prisoners' greatest act of defiance is creating a choir; brave and moving as their actions were, women sitting and singing is not terrific material for a movie experience.

To fill the seemingly endless two hours of running time, Beresford defaults to a tired formula of alternating scenes of mistreatment with long sequences of the women...talking. The Japanese guards all demonstrate vicious behaviour and do the usual amount of screaming and foaming at the mouth. The talking scenes contain the expected mixture of bonding, mistrust and encouragement. As is typical of the subgenre, when prisoners are given little to do except play victims, the drama never gains traction. Big fights break out over a bar of soap. There are apparently children in the camp but they are rarely mentioned. A dog is also among the survivors, and gets a few tangential mentions as a drain on scarce resources.

The performances are solid but unspectacular. Frances McDormand comes closest to etching a memorable character, but only because the heavily accented Dr. Verstak is portrayed with almost cartoonish stand-offishness. At the end of the film little that is original is learned about any of the women; their personalities are sketched in during the opening lavish banquet scene at the luxurious Raffles hotel, and then barely evolve.

Paradise Road leads to hell, but it's a disappointingly familiar place.






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Saturday, 8 October 2016

Movie Review: The Curious Case Of Benjamin Button (2008)


A grand fantasy romance, The Curious Of Benjamin Button has a quirky premise but delivers an eloquent love story featuring a man living life in reverse.

It's 2005 in New Orleans, and Hurricane Katrina is quickly bearing down on the city. The elderly Daisy Fuller (Cate Blanchett) is on her hospital deathbed, and insists that her daughter Caroline (Julia Ormond) read to her from the diary of a certain Benjamin Button. Most of the story is then told in flashback.

In 1918, Benjamin is born with the wrinkles, cataracts, arthritis and failing body of an old man. His mother dies during childbirth and his father Thomas (Jason Flemyng) abandons Benjamin to the care of Queenie (Taraji P. Henson), who works at a home for the elderly. As Benjamin grows older in age, his body gets younger in health. His hair starts to grow back, his eyesight improves, and a visit to a faith healer gets him out of his wheelchair and on the way to walking. In 1930 Benjamin first meets seven-year-old Daisy (Elle Fanning) and they become friends.  Around 1935 he leaves the nursing home and accepts his first job, working on the tugboat of the salty Captain Mike Clark (Jared Harris). Daisy pursues her fortune as a ballet dancer in New York City.

In 1941 Clark's boat is stationed in the port city of Murmansk, Russia, where Benjamin experiences his first true love and has a passionate affair with Elizabeth Abbott (Tilda Swinton), the bored wife of a British diplomat. The US joins World War Two and Benjamin has a harrowing encounter with the enemy on the high seas. After the war Benjamin tries to reconnect with Daisy (Blanchett), but their lives are on different trajectories. Meanwhile, his father Thomas reappears with surprising news about an industrial legacy awaiting Benjamin.

Directed by David Fincher and written by Eric Roth, The Curious Case Of Benjamin Button is a loose adaptation of an F. Scott Fitzgerald short story. Roth sprinkles the script with plenty of similarities to his own average man lives an extraordinary life as portrayed in Forrest Gump, and monumental but impossible romance through a diary lens popularized by The English Patient. Benjamin Button both suffers from comparisons to the two classics and benefits from the whimsical stars of destiny are aligning ethos. Meanwhile, Fincher makes sure that no matter what is happening on the screen over close to three hours, the film looks spectacular: Benjamin Button is frequently a sumptuous visual feast.

The film's weakness resides in the relative dormancy of its central character. Intriguing as his story is, Benjamin Button does not actually do much in his own life. He is swept along by the tide of history, navigating from 1918 to about 1990 in reverse health progression, things happening to him and all around him, but he himself instigating little. Daisy and Elizabeth steer the two big romances in his life, while his mother Queenie, the captain Mike Clark and Benjamin's father Thomas influence most of his life's directions. It is only late on that Benjamin independently insists on one key decision, but it's a relatively small contribution to a drama where he is most often a passenger and observer.

The film's first half nestles the more magical spirit and is more powerful, Benjamin's childhood years in the more innocent pre-war era resonating through a New Orleans open to strange events. That no one pursues answers to Benjamin's curious medical condition both raises the eyebrow and helps add fairy tale gold dust to the story. The second half is still interesting but less compelling. Benjamin and Daisy have to wait for a sweet spot of harmony as he grows younger and she matures, and there are typical emotional trials and tribulations as they find and then struggle to retain their couplehood.

The subtle and progressive makeup effects are a marvel, with Brad Pitt thriving as he convincingly portrays a physically frail teenager growing into an immature 70 year old in a young man's body. Cate Blanchett is less effective, particularly as the bed-ridden near-death Daisy, her mumbled and drugged lines of dialogue extremely difficult to discern.

The Curious Case Of Benjamin Button reaches most of the sentimental high notes that it strives for, and contains enough of its own peculiarities to overcome the more derivative fundamentals.






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Tuesday, 3 May 2016

Movie Review: Babel (2006)


An interrelated multi-story drama set simultaneously in four countries, Babel is an engrossing film about the ties that bind across continents.

In Morocco, American couple Richard and Susan Jones (Brad Pitt and Cate Blanchett) are part of a tour group as they try to rebuild their marriage after a family trauma. While on the tour bus in a remote desert region of the country, Susan is struck and badly wounded by a seemingly random bullet through the window. The accidental shooter is young local goat herder Yussef, whose father had purchased the rifle for his sons to scare away jackals. Richard rushes Susan to a local village to try and get the assistance of a doctor and call an ambulance. The shooting is mistakenly labelled a terrorist attack and triggers an international incident.

In San Diego, Amelia (Adriana Barraza) is the Jones' nanny, and the events in Morocco mean that she is stuck caring for their two young children Debbie (Elle Fanning) and Mike (Nathan Gamble) much longer than she planned for. Desperate to attend her son's wedding in Mexico and unable to find another caregiver, Amelia takes Debbie and Mike with her across the border in the car of her highly excitable nephew Santiago (Gael García Bernal) on a journey with many unexpected outcomes.

In Japan, Chieko Wataya (Rinko Kikuchi) is the deaf-mute teenage daughter of businessman Yasujiro (Kōji Yakusho). Chieko is still traumatized by the death of her mother, and her mood is not improved when a call goes against her volleyball team and boys either ignore her and or make fun of her disability. When detective Kenji Mamiya come looking for her father to ask about his possible connection to a shooting incident in Morocco, Chieko's already fragile emotional state shatters in an explosion of repressed sexuality and potential danger.

Directed and co-written by Alejandro González Iñárritu, Babel is a modern story of an interconnected world where small events create ripples with an astonishing reach. The film jumps around in place and time but remains tightly connected, the stories distinct but inseparable. There is relatively little dialogue in the film: events speak for themselves, and Iñárritu emphasizes the common human emotions of shock, grief, loss, and dealing with adversity in any context.

When communication is needed, the characters speak in their native language (and in the case of Chieko, in sign language), and at the heart of each episode is a story of an aching loss. In the case of Richard, Susan, Chieko and Yasujiro, sorrow is a starting point. For Amelia and the rural Moroccan family of goat herders, misfortune is an unexpected outcome of seemingly innocuous, and indeed well-intentioned decisions.

Doing good and finding trouble is one of the themes that seeps through Babel. The rifle that derails Susan's life changes hands for all the right reason: a hunter gifting his local guide, a neighbour helping a fellow neighbour chase away jackals. Amelia genuinely cares about Debbie and Mike, and also wants to be a good mother by not missing her son's wedding. Unfortunate events stem from kind gestures, and the film explores how characters react when the normal orbit of life is unintentionally knocked into disarray by others.

And when things do go bad, it is the kindness of strangers that often comes to the fore. Local villagers become essential to the survival of Richard and Susan, much more so that their fellow tourists. And after feeling detached from her father and peers, Chieko turns to detective Mamiya to try and recover from her sense of loss and abandonment.

Brad Pitt and Cate Blanchett are the most prominent members of a large international cast. Pitt as Richard Jones gets overexcited on a couple of occasions to help confirm the stereotype of Americans as boorish travelers, while Blanchett spends plenty of time drifting in and out of consciousness. The two best performances are delivered by Rinko Kikuchi and Adriana Barraza, two women dealing with exceptional and trying circumstances.

In Babel the characters speak the many different languages, and some don't speak at all; regardless, their lives are intricately interwoven across time and space.






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Wednesday, 6 January 2016

Movie Review: Carol (2015)


A dramatic romance, Carol is beautifully constructed and superbly acted, but also languid and rather thin in terms of plot and character development.

Christmas time, New York City, 1952. Therese Belivet (Rooney Mara) is an aspiring photographer working as a clerk at the lavishly decorated toy section of Frankenberg's, a large department store. She meets Carol Aird (Cate Blanchett), who is buying a toy train for her daughter Rindy. The two women sense a mutual attraction, and Carol arranges a follow-up lunch, and then invites Therese to an evening at her luxurious home.

Therese has a boyfriend Richard (Jake Lacy) and is also fending off the advances of another friend Dannie (John Magaro). Carol is struggling in a failing marriage to Harge (Kyle Chandler), and is still friends with her former lover Abby (Sarah Paulson). When Harge decides that he has had enough and forcibly takes Rindy away from Carol, she invites Therese to join her on an aimless road trip, during which the attraction between the two women will grow and evolve.

Carol recreates a magical 1950s ambiance, both in a chilly Manhattan decked out for Christmas and on the road where Carol and Therese spend a large portion of the film in and out of second rate motels and nondescript diners. Director Todd Haynes creates rich sets filled with period details, and the film always offers a feast for the eyes.

Which is good, because the story of the love affair developing between Carol and Therese unfolds at a most leisurely pace. Based on the groundbreaking 1952 novel The Price of Salt by Patricia Highsmith, Carol's narrative intentions are clear from the opening few scenes, and the film unfolds pretty much as can be expected. And while daring in a 1952 context, the lesbian love story is not original on the screen, with films like 1985's Desert Hearts having explored this territory before. There is not enough plot to occupy the two hours of running time, and Haynes pads the film with ponderous pauses and sometimes painfully slow scenes.

The available time could have been deployed to better round the characters. The current emotional conditions of the two women are presented as troubled, with Carol's home life a smoldering wreck and Therese's relationship with Richard suffering from asymmetrical commitment. Little else is offered by way of background, and plenty of potentially flavorful material is only hinted at but otherwise left unexplored, including Therese's family and the story of Abby's past liaison with Carol.

Both Rooney Mara and Cate Blanchett deliver perfect performances that make the most of what is known about the two women. Mara brings out Therese's quiet curiosity and a vague sense of unease with what well-meaning but bland men like Richard and Dannie have to offer. Blanchett captures Carol as the jaded, rich woman, growing increasingly tired of conforming to the expectations of the Harges of the world.

Visually delightful but slow and starved of depth, Carol is aesthetically satisfying but otherwise emotionally predictable.






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Saturday, 4 October 2014

Movie Review: The Gift (2000)


A suspense thriller with horror elements set in the deep south where the supernatural lurks side by side with unevolved society, The Gift rises well above the swamp thanks to a spooky Sam Raimi ambiance and a stellar cast.

Annie Wilson (Cate Blanchett) is a struggling single mother of three boys in the rural town of Brixton, deep in the American south. Annie has an extra-sensory gift, and makes a living of sorts as a fortune card reader. Her clients include Valerie (Hilary Swank), who is being regularly physically abused by her violent husband Donnie (Keanu Reeves), and the dim-witted town mechanic Buddy (Giovanni Ribisi), a deeply troubled former victim of child abuse.

The local school principal Wayne (Greg Kinnear) is engaged to the haughty Jessica (Katie Holmes), unaware that Jessica is sleeping around behind his back. Donnie seriously resents Annie advising Valerie to leave him, and starts to threaten Annie and her sons. When Brixton is rocked by the mysterious disappearance of one of its most prominent citizens, the baffled authorities turn to Annie for help. She works with the sceptical sheriff Pearl Johnson (J.K. Simmons) and prosecutor David Duncan (Gary Cole) to seek justice, which proves to be dangerously elusive.

Co-written by Billy Bob Thornton and Tom Epperson, The Gift draws its energy from a gothic setting drenched in deep southern fog. The town is small and isolated, the houses are cluttered, and folks are poor, uneducated and many are more than willing to accept the intervention of the supernatural. On this platform Raimi builds a fairly traditional story of murder most foul, and his stellar cast does the rest, transforming what could have been routine into a higher quality trip through the marshlands.

The film creates a stream of enjoyable suspense punctuated by regular side trips into short sharp horror territory. Raimi does not hold back from conventional bumps-in-the-night and what's-behind-the-door thrills, but overall The Gift is more about mood and atmosphere than violence. Annie's frequent extrasensory visions drive the mystery forward, and are executed with salacious panache.

The film ends with a ghostly intervention that is either a step too far from what most phantoms are capable of, or an allegorical strength-through-conviction punch line. Either way, it's an interesting challenge and talking point.

Blanchett gives Annie the haunted look of a woman scraping together a living, while understanding that her gift is a thin line away from being a curse. Her ability to sense what may be the past, the present or the future is not to be personally celebrated, but rather a barely controllable capacity to experience the agony of others.

Blanchett is surrounded by talent in all the supporting roles, Reeves particularly fearsome as Donnie, the husband not far removed from caveman tendencies. Holmes oozes uncontrolled sexuality, Jessica a spoiled brat with misguided ambitions too big for a town like Brixton. Swank is a women living with brutality because that is all she knows, and Ribisi is intense as Buddy fights entirely different demons.

A mix of the morose and the metaphysical shrouded with the phantasmal, The Gift is worth receiving.






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