featherstone-758-470869 Reviews

Mrs. Henderson Presents (2005)

Mrs. Henderson Presents... An Anti-Climax?

[6/10 · 20 June 2012]

I had such high expectations when sitting down to watch this film being a self-confessed 'Denchphile' and fan of genuine, honest British film. However, sadly I found myself underwhelmed by a lacklustre display despite the casting of some British acting heavyweights.

First of all, the positive. Naturally, being an admirer of the Dame, Judy was the stand-out of this film insofar as without her casting, I feel this film would have barely poked its head above the water. Although not the 'brilliant' performance the reviewers promised on the DVD cover, especially when compared to recent Dench performances in the likes of 'Notes on a Scandal' and 'Ladies in Lavender', she nevertheless delivered a heart-warming show which allowed for smiles and titters. Be prepared for witty lines and examples of the classic British humour we expect in down-to-earth British cinema but don't expect any real 'laugh out loud' moments. What is charming is the music, costume, and feel of the film alluding to its musical theme. In this respect, the film succeeds in entertaining on stage, however it is the 'back-stage' story which really lets it down.

Despite a positive start, setting the scene after Mr. Henderson's death and humorously showing how Mrs. Henderson acquired the Windmill theatre and Van Damm, the story soon gets all messed up, the pace and humour disappear and we're left waiting for it to end. Even the onset of the war and uncertainty about the future of the theatre fail to stir any real emotion. When main characters face atrocities, I fail to be moved towards sympathy because each of the characters is too shallow to really feel anything for, even Mrs. Henderson herself (the deepest of the lot). When the film reaches its climax (with Mrs. Henderson revealing her motives for pursuing her dream), the reason fails to convince, even though it should. Its difficult to pin-point what the missing ingredients are although the lack of character development and depth is the most obvious one. Aside from that the subplots fail to add any real value to the film and fail to prop up the weak narrative. Oh and Will Young gets a bit irritating by the end, mainly because we actually never really know who he is despite his high billing.

All in all, this film gets 6/10 from me mainly for Dench's performance, its musical and aesthetic quality portrayed through the costume, song and dance. In other words the stage scenes, brief moments of Dench humour and charm. However, it fails to hit the spot because it doesn't make us care about the theatre, her motives, the characters or anything really. In the end we are just a bored audience sitting through a smiley but flawed musical stripper show which even Judy Dench could not save.

Somers Town (2008)

A Little Gem

[8/10 · 2 May 2011]

Short, compact, yet rich with satisfaction: this film encompassing some beautiful moments to take with you and treasure. Shot in black & white, this film scores for being simple, yet moving, deep and unique.

In a world of blockbusters and 2 hour feature films, this short, simple indie film came as a welcome relief. It was 'bite-sized' if you can attribute that phrase. In other words digestible: it had a pleasantly warming message of friendship and the beauty of human emotions. Therefore perfect to consume on a quiet sunny afternoon.

By not being too long, this film does not loose out in being concise, it feels like every short scene is of real value to the story. This creates a pleasant pace and means the audience is kept enticed and captivated. Interwoven in this storyline and despite its brief nature, Meadows is still able to weave in thought-provoking shots and sequences to really underline the nature of social study.

Overall it is indeed a little gem, not to be left to gather dust on the shelf. Its one of those movies you could watch on a typical afternoon in the house to give you a satisfying feeling of wholeness.

Very impressive: 83/100

Scenes of a Sexual Nature (2006)

Scenes of an Uplifting Nature

[6/10 · 1 May 2011]

I'm going to start by being honest with you. This film leapt at me from the shelves due to its title, as it would to most adolescent males. However if you're reading this expecting this to be some kind of vulgar comedy porno, then don't worry because its not, its far from it.

The concept of this film is beautiful, focusing on seven different couples engaged in seven contrasting forms of relationships. The setting is Hampstead Heath park in North London, with the whole story being focused on one day in this location. The storyline is not complex, nor is it particularly special. Don't expect any gargantuan revelations, but rather wait for some pleasant twists to make you smile. What this film may lack in depth, it certainly makes up for in charm.

I think its important to remember that this film is more of a short, quirky study of relationships, to be taken seriously and not so seriously simultaneously. It contains a star- studded cast containing Ewan McGregor (Trainspotting), Andrew Lincoln (Love Actually) and Eilleen Atkins (Cranford) amongst others. The performances range in quality, although none of the cast members really get enough time to really develop their characters (which is what makes this film so interesting).

My main criticism of this film is that I think seven couples is arguably too many, with me thinking that only 5 of the couples are really significant to the plot. This would've given the film makers a few extra minutes per couple to develop their characters a little more. Overall however, this film impresses. It couldn't really score higher due its lack of depth, but its quirky charm and heart- warming glow is its redeeming factor.

74/100

No Country for Old Men (2007)

No Film For Faint Hearted Men

[9/10 · 19 February 2011]

This film is terrifying, quite possibly one of the most terrifying films I have ever seen. Now don't read that first sentence and stop reading, the film is terrifying yes, but also terrifyingly brilliant. I would go as far to argue that it is the best psychological thriller I have ever sat through, it just had all the right ingredients and equally was missing all the crucial bits.

Sometimes its important to praise something for what its missing, not just what its got in abundance. A good psychological thriller is meant to leave the audience asking questions, to allow them to draw their own conclusions on aspects of the plot which are frankly, not crucial. So yes this film did have plot holes, however I feel every one of them was deliberate. Mainly because it encourages you to ask questions, challenge theories and ultimately be psychologically tested.

Additionally, this film lacks a score, with virtually no music whatsoever: adding to the terror of this film. It creates an atmosphere which doesn't just stay on the screen, but oozes into your front room and grips you around the throat. The camera work, the pace, and most of all the assailant.

Bardem's character is clearly what makes this movie. The aura surrounding this psychopathic murder is so intense that you feel yourself tensing up every time he comes into view, yet you are so intensely fixated by his ruthless, emotionless manor so that you don't turn away. Even from the very first shot of this masterpiece creation, you are immediately made to feel uncomfortable. The shocking realism of this cinematic creation is blood-curdling. Even if the rest of this film was terrible, I would probably praise it just as much for the creation of such a villain.

Luckily, its not. Brolin and Jones clearly are due some praise, both delivering solid performances. All three performances offer contrasts in pace, technique and screenplay skill, culminating in a memorable masterpiece worthy of praise for a long while yet.

Basically just watch this, you will not know just how terrifyingly brilliant this film is until you feel your mind racing afterwards.

92/100

A Beautiful Mind (2001)

Beautiful And More

[9/10 · 16 February 2011]

Beauty. The word every filmmaker wants to hear in relation to his or her work. However, achieving cinematic beauty is something else. Beauty lies in the emotion, dedication and passion of good filmmaking; beautiful films are the one's made for a purpose. This film falls into that category: it serves a purpose. It successfully investigates the implications of dealing with schizophrenia, from minor inconveniences to larger problems with the potential to deliver devastating consequences. Therefore this movie is not destined purely to entertain, but to educate.

The story focuses around John Nash: A mathematical genius who attends Princeton in the hope of coming up with a mathematical theory which is 'original'. Under immense pressure to meet his ambitions as well as from his classmates, Nash eventually succeeds, working his way up until he became a professor at the MIT. Here he begins to notice the effects of his growing mental illness. He marries Alicia: one of his graduates but then begins to slip into a complicated world where he cannot differentiate reality from fantasy.

Crowe pulls of the part brilliantly, delivering a merit- worthy performance. Equally as impressive is Jennifer Connelley with Ed Harris interjecting a solid part. The mood of the film swings, twists and warps the traditional pallet; enveloping the range of feelings of a true drama and packaging them into a complete thriller. This film is layered with emotion and passion: showcasing determination and proving that you can overcome your trials. It's pace fluctuates, making it exciting, dynamic and unpredictable, panning from quaint romance to exhilarating action. Howard succeeds in delivering a product which contains more than just pure beauty, but despair as well as joy. Wrapped up in this feature are messages that all people can draw from, whether you're ambitions and inspired or not. It reminds us all that life has its challenges, but also that those challenges can be overcome if we learn to ignore the hurdles whilst embracing the rewards. Prepare to be amazed, saddened, elated and touched by a movie which exhibits more than just the beauty of overcoming.

86/100

Atonement (2007)

No Atonement To Critics

[9/10 · 13 February 2011]

Sadly I have read many articles on this film in which critics have pedantically pointed out the faults with this film. Yes, no doubt, there is always the risk of achieving historical inaccuracies when shooting films set in the past, that's a given. However to those who take pride in picking apart every single fault, maybe you should stop wasting your time, sit back and admire the sheer technological and performing brilliance of this feature.

James McAvoy and Keira Knightley are two of Britain's most aspiring first class actors, and in this film they really show it. After all, this film is a love story, so the convincing chemistry between the actors is highly important. Luckily both performances fit this specification perfectly, and what the audience are treated to is a romance which breaks all the boundaries. The story begins on a country estate in Southern England with 13 year old Briony Tallis, an ambitious, intelligent, aspiring young play- write. Upon seeing her sister Cecilia Tallis (Keira Knightley) by the fountain with gardener Robbie Turner (James McAvoy) she develops an irrational vendetta against the latter based a series of misinterpreted events through her childish imagination. Finally, she accuses the Cambridge graduate of a crime he didn't commit, causing repercussions for the whole family.

What follows is a tantalising, fast paced films which incorporates a healthy mix of elements which puts the film as a half romance half thriller. The Film splits off into a triple narrative, exploring the lives of Robbie, Cecilia and eventually Briony as the country is struck by the effects of WWII. Here the film breaks new boundaries, including a stunning continuous shot of the scene at Dunkirk as well as the trials and tribulations of working at a wartime hospital.

What is never lost is the chemistry between the lovers. Despite them being apart for much of the latter part of the film, it encapsulates the struggles of putting a relationship to the test. The film never looses out on its romantic side, striking a poignant chord with the audience, allowing you to really understand the deep connection between the two protagonists.

In terms of its thriller elements, the fast pace is achieved partly through its commendable score, considered usage of 'type-writer' noises during Briony's scenes to not only achieve tension but to also exemplify her unfailing imagination. Additionally, through successful characterisation we are able to view the changing emotions plaguing her as she comes to term with the wrongs she has committed.

All in all, what this films represents is a pioneering adaptation which succeeds in delivering a near faultless drama consisting of all the right elements. Graced by superb performances, considered camera usage, developed characterisation and an emotional score, this film will leave you stunned. It successfully analyses the consequences of childish misinterpretation and the taxing battles for retribution and redemption in a context which keeps the audience guessing throughout. This film is not just a film, it is a love story, thriller and even a war film, all rolled into an emotional journey of determination which never fails in delivering.

82/100

Driving Miss Daisy (1989)

Driving Through Life

[8/10 · 12 February 2011]

Simplicity is a virtue, often misunderstood and falsely interpreted. It's easy for a director to shroud a film such as this one with an overbearing, moral mantle; succeeding in making the audience react with a sense of revelation. Don't misquote me, I am a huge fan of films with profound moral messages, however what made this film stand out was the subtlety of its message.

Referring to the opening line, yes, this film was simple. However, it represented simplicity in its best form: confident, unashamed and beaming. On the face of it, the story isn't complicated: two characters representing different ends of racial divide, discovering that in fact they aren't as different as they may have previously thought. Obviously, key themes are addressed through the story: prejudice being a key one, along with trust, friendship and the value of independence. However, these themes are given a three dimensional presentation through the context in which they are presented.

Daisy Werthan (Jessica Tandy) is an elderly Georgian woman: stubborn, proud and 'unprejudiced'. After crashing her car into her neighbour's garden, her high-flying business owning son (Dan Aykroyd) insists he sources her a driver. Initially she refuses the services of Hoke Colburn (Morgan Freeman) in an attempt to maintain her independence. However, through Hoke's persistent charm and good nature, she slowly finds herself growing closer to her coloured chauffeur. The film then portrays their unique relationship over a period of 20 years, in the context of the social and political prejudices and changes of the period.

The genius of this film is the way a, critically speaking, 'small' story can succeed in portraying such a grandiose perspective on life. In this film you will not find an extensive cast, a variety of locations, expensive embellishments or any over-dramatic acting. Instead you will find two characters, explored effectively through successful characterisation who you are able to feel close to. In many ways, what this film shows is that what makes a memorable movie is the quality of its acting, the honesty and integrity of its story and the messages it envelopes.

Whats more, this film does not stop with evaluating the rewards of developing an unprejudiced outlook, but it puts into context the rewards of exploiting life of all its riches: the things that really matter. Presenting life's twists and turns through charming humour, emotion and self- discovery. The characters are able to meet in the middle, reaching a place where they can both thrive in their new found friendship, without it being over saturated in all the classic clichés in the book.

Overall this quirky drama encompasses all the ingredients of a classic story, whilst making reference to the events of the time. It successfully addresses probing questions, whilst retaining its informality through humour. Simplicity is harnessed to evoke beauty, which is used to illuminate the surprises, discoveries and meanings of life itself.

80/100