Posts Tagged Brie Larson
It’s been a funny old year. But focusing for a moment on the year in film, it’s been pretty damn fine. In fact, there’s so much to say that whereas normally I bundle my films of the year review in with telly and music and theatre and general musings on the previous twelve months, I’m doing a stand alone film blog, to match my books of the year extravaganza.
I’m including some things I saw on DVD which may predate 2016 (some which do so by a whole bunch of decades in fact) but I think I’ve broken my personal record in terms of films seen at the actual cinema. Most at Sheffield’s wonderful Showroom, but several at Cineworld’s IMAX for the full 3-D ginormous screen experience.
Whittling this list down to a top ten, even if I don’t attempt to put them in any kind of ranking, is pretty much impossible. However, a top 3 emerges quite clearly, of which more later…
Two of the IMAX films I enjoyed this year were from the Marvelverse. The awesome Captain America: Civil War, which augurs well for the next batch of films from the franchise – action, spectacle, politics and moral quandaries, what more could you ask? Doctor Strange was visually stunning and Cumberbatch was terrific (definitely channelling Sherlock in the early parts of the film), and I look forward to his integration in the Avengers ensemble, riffing off Thor and Cap and co. The third was Fantastic Beasts, from the Rowlingverse, which was fantastic and lovely even if the plot was stretched a little thin to allow us to gasp in wonder at the beasts (reminiscent of the first HP film and the first Star Trek movie, so perhaps this is a feature of being first in a new franchise).
At the Showroom we saw possibly the most French French film imaginable, Things to Come, with Isabelle Huppert. I imagined (but have not attempted) a lethal drinking game, involving taking a swig every time a philosopher is namechecked… It’s a thoughtful film, that eschews comfy answers and pat resolutions, in which in a sense very little happens and there’s lots of talk, but also lots of pensive silences.
Marguerite was, oddly, one of two films based on the life of Florence Foster Jenkins. I haven’t seen the Streep/Grant biopic but this was a lovely and touching fictionalised version, starring Catherine Frot.
I had high hopes of Dheepan, given the director’s track record – he made one of my favourite French films ever, The Beat my Heart Skipped, and A Prophet was also excellent. As was Dheepan, for the first couple of acts. After that it seemed to swerve into, first, a revenge thriller in which previous plot strands were left dangling, and finally into a kind of suburban idyll which surely must have been a fantasy (but why would a Tamil refugee previously living in the banlieue have such a detailed vision of the English suburbs?). Worth re-watching to see if I get a different sense of it, but I ended up baffled.
Anthropoid was a brutal depiction of the assassination of Heydrich and its bloody aftermath. Knowing the outcome increased the tension rather than dissipating it, and aside from a couple of minor Hollywood moments along the way it was gritty and clear sighted in refusing to show the protagonists as unswervingly brave and resolute heroes, but allowing us to see the panic and the doubt.
Childhood of a Leader was another film which seemed to lose its way slightly in the final act. It hadn’t quite earned the coda which was (without giving anything away) several imaginative leaps away from the previous scene – not impossible but a fair old stretch, and I think the whole would have been more persuasive had the finale been played with more subtlety and ambiguity. Having said that, along the way it was excellent, with the building sense of wrongness abetted powerfully by one of the best scores I’ve heard all year, from Scott Walker, no less.
Hunt for the Wilderpeople and Captain Fantastic were, in their different ways, delightful films about family. The former focuses on a ‘looked after child’ who is not only hunted (by the authorities – ‘no child left behind’ is not a slogan you will ever feel the same about after this film) but also hunting, for family, stability, love. It’s very funny, and very touching. Everyone leaving the cinema was smiling. Captain Fantastic was not a superhero movie at all, but the story of a family living off-grid, of a father trying to bring his children up with different values to those of their grandparents and the wider society, but then coming into conflict with those values. It was genuinely thought-provoking, as well as, like the Wilderpeople, funny and moving.
On DVD I saw two cracking Shakespeares. The first was new – Marion Cotillard and Michael Fassbender as the Macbeths. For the life of me I cannot comprehend why the early scene showing them at the burial of a child was controversial – the text is very clear that Lady M has given birth, and equally clear that there’s no offspring around now, so I’d always assumed they had a child that died, even if other productions don’t signpost this. This was possibly the best Macbeth I’ve seen – the two leads were totally compelling and chilling, and there was another terrific score, from Jed Kurzel. Then there was a wolfish Ian McKellen in Richard III, the 1995 film, also featuring Annette Bening, Robert Downey Jr and Dominic West amongst other members of a terrific cast. This is the War of the Roses transposed to the 1930s, with fascism looming and the final battle taking place at a ruined Battersea Power Station rather than Bosworth Field. It takes some liberties with the text, combining a number of characters, for example, but it’s a tremendous production of a play I know well as a text but I think I have only seen on stage once. (That was at Nottingham Playhouse in 1971, with Leonard Rossiter in the lead, and the fact that I can remember the production and especially the final battle scene so vividly after 45 years is a tribute to the performance and the staging.)
The Martian was splendid, I loved Damon’s performance and the scripting of his monologues (the phrase ‘to science the shit out of’ something is one I yearn to use), but also Sean Bean (I had a moment of anxiety that he was going to adopt a transatlantic drawl, but no, he were proper Yorkshire) and Danny Glover. Still out there in the big wide cosmos, Star Trek Beyond was fairly daft but thoroughly enjoyable, and I wish, oh I wish, that I believed we could defeat fascism by playing the Beastie Boys on max volume…
Slow West built slowly and subtly to its bloody conclusion, subverting many of the classic western tropes along the way.
Sing Street was a funny and touching evocation of the early 80s through the classic boy meets girl, wants to impress girl, so forms a band storyline. Quite possibly the storyline behind the majority of bands ever formed. The music is pastiche, but openly and appropriately so, as the motley band of musicians change their style and appearance according to whatever they’ve just heard, or whatever they’ve just been told is cool. Lovely stuff.
I was far from convinced about the worth of a live-action Jungle Book but it was very well done and technically stunning, and the peril seemed more perilous than in the cartoon version. Zootopia was contemporary Disney at its most engaging with a female lead who’s definitely not a princess. She’s a rabbit, but she’s not a princess rabbit, OK? And Finding Dory was as touching and funny as I expected, with the motif of short-term memory loss being particularly poignant as we observe it in a close family member these days. We also liked the otters.
All of which brings me to my top three. I cannot bring myself to rank them, so here they are, in alphabetical order.
Arrival was science fiction at its most philosophical and thoughtful. The theme of language is one that has always fascinated me, and I thought during this of my favourite ever Star Trek Next Gen episode, Darmok, where the crew encounter a people who communicate only through allegory, so their translations are useless because they do not know the stories that are being referred to. ‘Picard and Dathon at El-Adrel’. Amy Adams is magnificent, and the narrative has an emotional heft that I cannot explain without spoilers, only to say that I was still weeping after the credits rolled.*
I, Daniel Blake I have written about elsewhere at length so will not reprise those comments here. It’s not a perfect film, but it’s a tremendously powerful one, and aside from its political importance, the central performances are excellent.
Room is intense. It has to be, claustrophobically intense. In the novel we see everything through the eyes of the child, and of course the film can’t do that. We identify with Ma, who is so beautifully played by Brie Larson, a performance totally without vanity or showing off, where one of the most devastating moments is wordless and it’s hard even to describe how she says as much as she says. Jacob Tremblay is also outstanding and the rapport and intimacy between the two of them carries the film.
My three top films have women centre stage. Amy Adams, Brie Larson and Hayley Squires all deliver performances of great subtlety and depth. Squires is second billed but she gets almost as much screen time as Dave Johns and her side of the narrative is vital in showing the full impact of the benefit system. Each of the three is tightly focused on two key characters – Arrival on Adams’ character and Jeremy Renner’s physicist, IDB on Daniel and Katie, and Room on Ma and Jack – and so they only scrape through Bechdel. But Bechdel is not the only way of looking at women on screen and these three win as far as I am concerned by asking complicated, nuanced female characters to carry the story.
*OK, I almost always cry at the movies. Most of those mentioned above triggered a bit of a sob at some stage, but I only mention it when I have been especially overwhelmed.