Tag Archives: British films

’71

I only had time for one movie during our week of having my picture taken with beloved movie characters, visiting famous movie locations, and riding movie-themed attractions. I had been wanting to see ’71 since its screening at TIFF last year and when my brother bought the DVD at LA’s Amoeba Music (my new favourite place), I finally had my chance.

Set mostly over one eventful night in 1971 Belfast, ’71 tells the story of a new recruit to the British army (Jack O’Connell, from Starred Up and Unbroken) who is left behind by his unit during a conflict with angry Irish Catholic Nationalists. The film follows the soldier’s fight to stay alive in hostile territory while injured and scared shitless which sets off a bloody chain of events with far-reaching consequences.

First-time director Yann Demange takes no violent act for granted and is careful to acknowledge the personal and political cost of every punch thrown, every bullet fired, and every bomb that goes off. There are a lot of interested parties here and Demange shows compassion to members of each group. It’s refreshing and admirable even when the increasingly complex narrative eventually loses some momentum with a heavy-handed finale.

’71 works best as a thriller. When Demange is reminding us of the very real danger that the soldier finds himself in. Violence is used sparingly and usually following an extended build-up of tension. Hand-held cameras masterfully capture foot chases through apartment complexes, sides streets, and back alleys. it doesn’t hurt that O’Connell is up for the challenge. There’s not a trace of old school heroism with this guy as he limps through Belfast with genuine fear in his eyes.

This film may not be perfect but it is a very good one. Good enough to take a 99-minute break from my vacation.

Hello Ladies

2 Replies

When Stuart’s ex-girlfriend comes for a visit, he plans to impress her with a fake but dazzling L.A. lifestyle and an even faker supermodel girlfriend. No room for comedy there!

I hope by now we’re all familiar with Stephen Merchant, once known more as a Ricky Gervais’s big, goofy side kick and collaborator but actually a brilliant writer, comedian, and performer in his own right. Hello Ladies is actually a feature-length follow-up to his successful (but sorrowfully cancelled) HBO series that he writes, directs, and stars in himself. Even if you haven’t seen the series, the movie works as a stand-alone little piece of funnery and is accessible to anyone. It’s based on his stand-up which is always stellar. If you’ve failed to appreciate Merchant in The Office (BBC) or Extras, then feel free to start with Hello Ladies and work your way backward. There’s no bad starting point.

Kinky Boots

Belle

2 Replies

First off, thank you to all my fellow film-lovers who brought this movie to my attention. It seems to have slipped under the radar over here but I’m infinitely glad I had the chance to watch it.

Belle recounts the true story (in broad strokes – little is known of her life) of Dido Elizabeth Belle, the half-black, bastard child of a Royal Navy Captain in 18th century (slave-trading) England. Her father loves her deeply (as he did her deceased mother) and when he ships out to India, he appeals to his uncle to care for her in his absence. A Lord and Chief Justice, the uncle tries to raise her, along with another (white) niece, with the privileges she is due while teaching her the important barriers of her skin colour. “Too high in rank to dine with the servants, too low in rank” to dine with her family. She has enough to feel a sense of belonging, and just enough to feel left out. At court, her uncle must decide an important case about slaves as he resists acknowledging their similarity to his beloved niece.

I just watched Gugu Mbatha-Raw in Beyond The Lights and thought she was a stand-out, but this film makes clear that her career will be one to be reckoned with. She’s very subtle and deliberate and saves Belle from being merely a curiosity. Instead she is painted as a woman conflicted, a woman carrying the weight of her race for everyone to see. And this movie is also about class, and (perhaps even foremost) about gender. It would seem that her skin colour can be compensated for with enough money, but her gender leaves her with few options. She must either find a good husband or be invisible like her aunt (Penelope Wilton, tragic and invisible). In the film, Belle’s uncle (Tom Wilkinson, formidable) is challenged to draw a parallel between his niece (who is constantly referred to by the ugly word “mulatto”), and slaves insured as human cargo. Are they not worth the same? Is she not worth the same as any other debutante? The film asks the same question of us but poses it too lightly. I can only imagine the controversy her presence in the family home must have caused, and yet I must imagine it because the script glosses right over the indecencies that certainly occurred. The story focuses on romance, or lack thereof, as befits their station and the time, and covers social implications inadequately. Belle lacks the self-starting spark that would make her the pioneer the script so badly wants her to be.

The script has been controversially attributed to Misan Sagay, despite director Amma Asante

The artwork that inspired the movie

having written 18 drafts over 3 long years. Sagay is an American member of the writer’s guild and took it to her union, which decided in her favour against non-member Asante (who is based in Great Britain). Wilkinson and Wilton have expressed ‘incredulity’ at the decision, because they had “only seen and worked from a script written by Amma”, With or without accreditation, this is an imperfect but impressive first full-length feature and Asante is sure to give voice to more great stories over time.

The Holiday

3 Replies

A quasi-Christmas movie for when you’re feeling in a quasi-holiday mood. It takes place around the holidays but it doesn’t shove them down your throat. It is unabashedly a romcom though. Like, hardcore romcom. If you love Love Actually, this might just be the perfect follow up. Just don’t make your boyfriend watch them back-to-back, or I won’t be responsible for him menstruating all over your micro suede couch.

Kate Winslet plays this woman who’s in love with a jackass who doesn’t love her back, and wouldn’t deserve her even if he did. It’s next to impossible to believe this heavenly creature could ever be in an unrequited situation but she’s lovely and she elevates this stinkin romcom to a very nearly decent little movie. She’s at her office Christmas party when her ex-lover announced his engagement to the woman he cheated on her with (holy god, call the grammar police!) and poor Katie does a not too great job of hiding her tears because her coworker says “I never realized how pathetic you are” to which Kate replies “Really? I’m so aware of it.” And how can you not love a movie like this?

In an effort to avoid another new year’s eve of tears and vallium, she lists her home on a house swap site and connects with Cameron Diaz, a woman in Los Angeles who’s just had a bad breakup with her boyfriend and also needs to get away from life and from men.

But of course they don’t just live in each other’s houses, they inhabit each other’s lives. Kate’s little cottage is cozy and filled with books. Absolute heaven. Cameron’s house is bursting with movies, including, weirdly, Gigli. Sort of reduces her credibility, no? And soon they start me including their men (though thankfully not their exes). Both rom and com ensue.

And keep watching because the best part is right around the corner – an old guy, a writer from show business’ golden age, who just slays with his great advice (“You are a leading lady but for some reason you’re acting like the best friend.”) and his undying loyalty. I was completely charmed by Jack Black (!) and won over by Jude Law (!!). It’s totally predictable and meandering but that doesn’t stop me from wanting to cuddle this movie all night long. Merry Christmas to me.

Love Actually

12 Replies

I’ve actually started packing away my copy of Love Actually with my Christmas decorations every year, which limits my viewing of it to just once, annually. This is a necessary precaution because it’s way too easy for me to get swept away in this movie.

It feels like the ultimate romantic movie, possibly because in this movie Hugh Grant AND Colin Firth both get the girl. But for every frenzied makeout session, there’s also a cold, awkward peck on the cheek. Your heart breaks as much as it soars. There’s grand gestures, and well thought-out lingerie, slow dancing cheek to cheek, and enough first kisses to charm even the more cynical hearts.

But for me, this movie excels not in its romantic tropes, but in the darker corners. You don’t need this movie to tell you that Emma Thompson is superb, but it does confirm it. The scene when she’s in the bedroom, having just unwrapped Joni Mitchell instead of jewelry, is moving and real. Only a few moments (and even fewer tears) are devoted to her broken heart and we watch her pull herself back together to give her children a smiling, overbright Christmas. Only an extended hug for brother David belies just how much she’s hurting. This movie happens to take place in the weeks leading up to Christmas, and while the magic of the season seems to heighten the romantic aspects, and give courage to those who need it, it also highlights the loneliness, the forced joviality, the false cheer.

There’s probably some sort of personality test about which couple your root for in this movie, but I must confess, I also adore the non-romantic-couple bits: the sweet and silly bromance between Billy Mack (Bill Nighy) and his fat manager, the sacrifice of Sarah (Laura Linney) for her institutionalized brother, the shared grief and renewed bond between Daniel (Liam Neeson) and his young stepson.

I’ve been watching this movie for a decade and I still squeal at all my favourite parts: the papier-mache lobster head, the Rowan Atkinson gift wrapping, the Beatles sendoff, Hugh Grant dancing unselfconsciously, the falling in love by subtitles between Jamie and Aurelia, Martin Freeman warming up his hands for “the nipples,” Rick Grimes taking a break from zombies. This movie has it all, and I’ve certainly heard it criticized for being over-stuffed, but personally I wouldn’t know which subplot to cut. Sure it’s self-indulgent, but watching this movie every year is a gift I give myself.

The assholes will be reviewing their favourite holiday movies all December long, so stay tuned!