Tag: Mark rylance

Categories
Uncategorised

Don’t Look Up (2021)

Netflix’s Don’t Look Up is one of the most talked about films of recent months thanks to the cast which is packed with A-listers. Adam McKay’s dark comedy follows a research team followed by Dr. Randall Mindy (Leonardo DiCaprio) who discover that a huge comet is heading straight for Earth and will destroy it within a matter of months. Mindy and researcher, Kate Dibiasky (Jennifer Lawrence) head to the White House to convince the President (Meryl Streep) to destroy the comet before it hits the planet. With plenty of storylines and characters, Don’t Look Up is a film that has garnered polarising reviews with some loving the message on climate change while others feel that the execution falls short.

The film is directed and written by Adam McKay, whose previous efforts include 2018’s Vice and 2015’s The Big Short which combine politics and comedy. McKay is interested in recent political events and Don’t Look Up is his take on climate change. What made The Big Short and Vice so effective is that they had a tighter focus on a few characters so the films had a better flow in terms of the writing and direction. Don’t Look Up is a film that is filled with the world’s biggest stars and McKay clearly wants to give everyone a fair share of screentime. Unfortunately, the result of which seems to be a who’s who of Hollywood and the writing is crammed with too many storylines that it seems jilted in structure. It feels like the screenplay needed to go through an extra draft to finesse the story and ensure that the film has a better flow.

Jennifer Lawrence plays researcher, Kate Dibiasky, who is credited with discovering the comet, which is suitably named Dibiasky Comet. Dibiasky appears to be the voice of reason throughout the film although doesn’t have the skills to communicate her view properly which angers the authorities. Lawrence’s performance is perfect as she captures Kate’s feelings of despair and her outspoken nature. It’s great seeing Lawrence and DiCaprio act opposite one another and it feels like Lawrence actually steals the show thanks to the amount of depth that she brings to the performance. Don’t Look Up allows us to see Lawrence in a different kind of comical role that we haven’t seen from her before and she delivers.

In the male leading role is Leonardo DiCaprio who portrays research leader, Dr. Randall Mindy. As always, DiCaprio can be relied upon to give a great performance which he does but it does feel as though his character isn’t given much to play with in the same way that Dibiasky is. There are certain decisions that McKay made for the character which seem a bit confusing such as having Randall embark on an affair with news reporter, Brie (Cate Blanchett) which doesn’t add a lot to the overall plot while taking up a lot of time. What is confusing about this development is that it contrasts to everything else we learn about Randall and the way he lives his life. His affair seems to show that he is just as bad and sleazy as the authorities who want to mine the comet for minerals. Despite this, DiCaprio does a great job with what he’s given.

The supporting cast is absolutely huge and is led by none other than Meryl Streep and Jonah Hill as President Janie Orlean and her son, Jason Orlean, who is also Chief of Staff, respectively. Having Streep playing a President was bound to happen sooner or later, but rather than be a reliable source of wisdom and leadership, Janie Orlean is manipulative and power and money-hungry, seeing the comet as a money-making opportunity rather than a threat. Jason also proves himself to be extremely under-qualified for his role and has clearly gotten to where he is thanks to nepotism. The role of Janie Orlean feels a bit underwhelming in terms of development, which is a shame when you have Meryl Streep in the role while Jonah Hill is clearly given the chance to improvise and do what his does best – insult people within an inch of their lives in a hilarious way.

Don’t Look Up is a film that wears its message on its sleeve, but the execution falls a bit short due to the screenplay, which tends to flit around a lot. McKay has proven that he can work with an ensemble task and has even won an Oscar for his screenplay for The Big Short, but the magic he creates blending comedy and politics seems a bit lost amongst all the characters. It feels as though some storylines don’t blend well with each other, which may be the reason it has had such polarising opinions. This isn’t to say that Don’t Look Up is a film without its positives, however, as Jennifer Lawrence provides an excellent performance and Jonah Hill is a comedic standout in a role that feels like a classic Hill performance but it’s a film that should have been more consistent in it’s storytelling.

What did you think of Don’t Look Up? Let me know what you think in the comments below!

Don’t Look Up is available to watch on Netflix now!

Categories
Festival Review

London Film Festival 2021: The Phantom of the Open

Originally published in Wales Arts Review.

Showing at the London Film Festival Gala is a huge honour usually reserved for the biggest films sure to draw press. One Gala slot selected this year was Craig Roberts’ third feature The Phantom of the Open. The film follows the life of Maurice Flitcroft (played impeccably by Oscar-winner Mark Rylance), a man who was once dubbed the worst golfer in the world. After Maurice spontaneously decides that he wants to play golf professionally, he enters the British Open having never played a round in his life, thus setting the stage for ensuing hilarity.

The film inevitably explores the fallout from this decision – the effect it has on Maurice, his family, and the surrounding community to boot. The result is one of the most charming films of the year; a grounded story which positions a working-class man as a national hero.

Welsh actor Craig Roberts is no stranger to the director’s chair having previously directed Just Jim (2015) and Eternal Beauty (2019). It’s clear that Roberts thrives in telling stories about outsiders and underdogs, making Maurice Flitcroft the perfect subject for his latest project. The script comes from Simon Farnaby and is adapted from his book The Phantom of the Open: Maurice Flitcroft – The World’s Worst Golfer (co-written with Scott Murray). The passion and respect Farnaby has for the true story is central to the film’s success.

Roberts’ directorial approach sees the film flit between a realistic, humdrum depiction of the average working man’s life interspersed with dreamscape imagery of Maurice golfing, bridging an unlikely fantasy later turned reality. It’s an emotional journey which Roberts guides the audience through deftly, balancing the thrill of Maurice’s sanguine cheer at, technically speaking, poor performances with the rife classism he faces in a space populated by the affluent mainstays of golfing circles. Maurice’s position as an outsider is as much about his background as his ability (or lack thereof) – with the golfing community viewing his presence as something which might tarnish the reputation of the sport.

Mark Rylance is a stellar actor and an apt choice for Maurice Flitcroft, he brings nuance to a character who could feel clumsy or slapstick, rendering him, instead, human (and his palpable joy in playing the role doesn’t hurt, either). In support, Sally Hawkins takes the role of Maurice’s wife, Jean Flitcroft. A scene-stealer at the best of times, Hawkins is a joy to watch – conjuring a chemistry with Rylance which is tender without being saccharine. The film’s plot is careful to keep Jean in the foreground, her journey inseparable from that of her husband’s – a whirlwind series of events from Maurice’s redundancy to his entrance into the British Open are ultimately but passing weather in the longevity of their relationship. 

Rhys Ifans appears here as Mr. Mackenzie, a man with great influence over the golfing community in Britain who – in a not entirely unpredictable setup – is determined to stop Maurice from playing in any serious capacity ever again. Meanwhile Mark Lewis Jones is Maurice’s benevolent best friend and accomplice, helping Maurice to steal a golf cart in order to escape from the police after he enters the British Open under a false name. Both actors, respectively, season The Phantom of the Open with the drama and humour necessary to give the films its balance and ultimately make it a pleasure to watch.

To say that The Phantom of the Open is a film about golf is to miss the point. The plot provides the backdrop for a story of emotional resilience, with plenty of fuzzy feel-good laughs along the way. Real, human and comic, The Phantom of the Open is guaranteed to delight film fans and golf fanatics alike, both heartwarming and impeccably executed. 

Categories
Uncategorised

The Trial of the Chicago 7 (2020)

One of the most anticipated films of this upcoming awards season, The Trial of the Chicago 7 is the new film written and directed by Aaron Sorkin. Following the trial of eight men with varying backgrounds who organise protests at the Democratic National Convention to end the Vietnam War. Featuring an all-star cast including Eddie Redmayne, Mark Rylance and Sacha Baron Cohen, The Trial of the Chicago 7 is a major event of a film showing that issues that occurred in the 1960s are just as relevant today during a tumultuous year. Considering Sorkin’s previous filmography, it is no surprise that he would be at the helm of a film that showcases the miscarriages of justice and he is the perfect person to do so. Netflix are going to be pushing this film hard for awards season and it’s easy to see why as the cast and crew on paper is enough to entice an audience alone.

As expected, Sorkin’s screenplay is intense and atmospheric, perfectly creating the societal chaos from the first few minutes. The set-up is also unexpected as we are introduced to the characters and then goes straight to the court case, skipping the actual demonstration initially. The first demonstration is interwoven bit by bit during the trial as the facts and fiction are spouted in court. The demonstration and riot itself is brilliantly directed providing a midpoint climax that makes use of the tension built up in the first half of the film. Sorkin’s use of real footage of the riot coinciding with the film’s scenes showcases the discomfort and conflict. There is also an unflinching fearlessness in Sorkin’s approach to the riot. The second half then explores the second riot which sees the main group, sans Bobby, trapped and beaten by members of the police who removed their name badges so they could not be identified.

The performances are all reliable as to be expected from a cast of this calibre. Although the cast are all being pushed for Supporting awards this awards season, I would argue that Sacha Baron Cohen and Eddie Redmayne could be considered the leads given their screen time and characterisation. Both do a superb job in roles that I haven’t seen from either before. I was particularly impressed by Sacha Baron Cohen who has been having a stellar year. Playing hippie activist, Abbie Hoffman, Baron Cohen is able to channel his usual humour and wit while equally showcasing a more dramatic range that is really impressive. Redmayne on the other hand pulls off a great American accent as up and coming activist, Tom Hayden, who is President of the Student for a Democratic Society. His final scene in which he reads the names of the fallen soldiers since the trial began is

In the more traditional supporting roles we see the other members of the eight as well as the lawyers of both the defense and prosecution. In this category, one major standout for me was Yahya Abdul-Mateen II as Black Panther Chairman, Bobby Seale. Seale is constantly ignored and belittled by the court resulting in a scene where he is literally gagged and chained to his seat in an extremely upsetting scene. Abdul-Mateen’s performance is small but hugely significant and he commands every scene he is in. It would also be a catastrophe if I didn’t mention the fantastic turn by Mark Rylance as Defense Counsel, William Kunstler. Rylance can always be counted on to bring flawless performances but he truly excels in this. I wouldn’t be surprised to see his name on the nominee lists come awards season.

Naturally, I had high expectations for The Trial of the Chicago 7 and they were met with ease. Sorkin brings out his strongest writing since The Social Network and does a brilliant job with the direction as well. The fact that he is able to give a good amount of characterisation to the eight men that makes them distinct and identifiable is a true testament to his skill as a writer. I think Sorkin’s passion and intricate research into the case really comes to light and he manages to condense a lot of information into a 130 minute film in a way that is engaging and not overwhelming at the same time

What did you think of The Trial of the Chicago 7? Let me know in the comments below!