In Touch With Humanity

Chernobyl (2019): Series Review

A Spoiler-Free Review

Directed By: Johan Renck

Genre: Drama, Biography

Episodes: 1 series, 5 episodes at approximately 1hr.

For me, this series really seemed to come out of nowhere. I didn’t see any advertising for it until the first few episodes had already been aired and it had shot to the number one spot on IMDb, claiming it as the best television series of all time and a final episode sitting at a score of 9.9/10 after over 200,000 reviews. Obviously, I was deeply intrigued, especially after having seen several of the other so-called best series of all time, including Band of Brothers, Planet Earth and Breaking Bad. Chernobyl supposedly outranked them all.

I was already familiar with some of the history around Chernobyl before watching the series, but this didn’t detract from the tension, the suspense or, in some cases, the sheer horror of what was unfolding onscreen. The radiation leaking from the reactor is treated at times like some surreal and supernatural or extra-terrestrial beast, something out of The Thing or Alien, burning or poisoning those who encounter it, decaying the filaments in torches to plunge characters into darkness, a looming and misunderstood evil which threatens to destroy everything around it. The persistent fear and search for knowledge is a journey as exciting and gripping as any thriller I’ve seen. However, Chernobyl has other elements to its genre which break up the tone: part family drama, part courtroom drama, part historical and scientific biography, even part comedy.

The cast are a smattering of familiar and unfamiliar faces. Jared Harris, known best for his role as King George VI on The Crown, plays our protagonist nuclear physicist Valery Legasov. He gives an admirable performance of the tortured intellectual, particularly when paired with the wonderful Emily Watson (Red Dragon) as the only fictional character of Ulana, an amalgam of hundreds of scientists who helped to discover the truth about what happened on 26 April 1986. Her character was made female to best reflect the Soviet Union at the time, which had a higher percentage of female scientists than comparable countries, and I think this was a wise decision as Watson turns in a stellar portrayal. I often enjoy the work of Stellan Skarsgård (Mamma Mia) and this was piece was no different, with a nuanced character arc constantly growing just beneath the surface. Jessie Buckley’s (Wild Rose) ability to pull the heartstrings and an unrecognisable Paul Ritter’s (Friday Night Dinner) believable arrogance are also commendable.

The score from Hildur Guðnadóttir is definitely worth mentioning. She captured ambient sounds inside an abandoned Lithuanian power plant which inspired the haunting and often beautiful composition that complements the bleak cinematography and impending dread; a truly unique influence. The direction is all but faultless from Johan Renck. Nevertheless, the real hero of the production is the script from Craig Mazin. Who would have thought that this mastery would come from the man who penned The Hangover II and III? The research is extensive, scientifically accurate and emotionally rich, the plots of each episode are complete and concise but the narrative swells as the series progresses, climaxing brilliantly with its final episode which lurches between the night of the disaster and the court trial a year later.

So, the question remains: is it the best series of all time? It’s a daunting title, one that has played on my mind and forced me to question yet again what it is that separates something from being good to being great. Does Chernobyl hold something special or is it just that I cannot find anything which is wrong with it? I think if this were a fictionalised tale, then perhaps it would fall into the latter category. However, the attention to the details, the chronology and the faithfulness to the history of Chernobyl to tell this story respectfully does raise it higher. The fact that this is a true story which can be told at all is something which twists the stomach and violates the eyes. This too raises it higher.

The cynic in me believed, before I watched this series, that it was going to be vaguely disguised anti-Soviet, anti-Communist and anti-nuclear propaganda. I found Chernobyl to be a surprisingly fair account which, when I conducted further reading, actually downplayed some of the more morally questionable actions of the government. Rather, it takes the political and social questions and expands those into the philosophical to ask: what is the true cost of lies? Though it would have been adequate and easy to look no further than the confines of the event, the narrative pushes the audience that little bit further, which is what elevates it to that universal level which becomes instantly relatable and remains relevant to today’s world. This is what raises it to greatness. I can’t say for sure if it’s the best of all time, but it’s up there.

My Rating: I give Chernobyl 5/5 stars, placing it in my Don’t Miss category.

Public Opinion: Chernobyl averages 96/100 across IMDb and Rotten Tomatoes.

Fun Fact: The writer of Chernobyl claims the best script ever written is Finding Nemo.

Chernobyl is currently streaming on Sky Atlantic, accessible via Now TV.

As always, I’d love to hear your thoughts. What did you think of this series? If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch with Humanity’ for access and updates on all my content. Cheerio!

Rocketman (2019): Movie Review

A Spoiler-Free Review

Directed By: Dexter Fletcher

Genre: Biography, Drama, Musical

From the director of Eddie the Eagle and the producer of last year’s Academy Award winning Bohemian Rhapsody comes Rocketman, the biopic around the life of the legendary Elton John. Unlike Bohemian Rhapsody, a more chronologically faithful and straightforward depiction of the life of Freddie Mercury and the genesis of Queen, Rocketman feels more like a fantasy musical akin to Moulin Rouge than a conventional biography. Elton’s music is used as a narrative device as done with Jukebox musicals like Mamma Mia or We Will Rock You. Frequently, the narrative breaks the confines of reality and descends into fantasy to better mimic the emotional, mental and even physical state of our protagonist. This alone will divide audiences: some people don’t appreciate or understand musicals. For me, an avid musical enthusiast, this was a breath of fresh air which departed so greatly from the storytelling structure and style of Bohemian Rhapsody that it is able to stand on its own two feet. It was an entertaining and visually explorative romp which complements the real-life extravagance of Elton John, his music and his performance style.

Obviously, the music throughout the film is sensational and all the cast have been highly praised for singing their parts, but particularly Taron Egerton (Kingsman) who plays Elton John. In both singing and acting, he evokes Elton’s mannerisms and intonations without ever attempting to exactly mimic – which I think is far more effective. There is not a comparison between Taron and Elton as singers, but Taron utilises his natural talents to bring forth a version of Elton which we can follow, sympathise and delude ourselves into believing is the real thing. As another reviewer so neatly put it: this is a painting, not a mirror. It took me a few scenes to be convinced that Egerton was the right choice for the main character, but once I saw him sing and dance for the first time, I was completely on board and thoroughly enjoyed his interpretation.

For the remainder of the cast, Richard Madden (Bodyguard) is a brilliant choice for John Reid. He and Taron have amazing on-screen chemistry and I could totally believe why Elton would fall for and be completely manipulated by this man. Jamie Bell, the titular Billy Elliott all grown up, gives a nuanced and lovable performance as Elton’s long-time lyrical collaborator Bernie Taupin. A criticism of the film would perhaps be that while the emotional friendship is certainly understood and portrayed throughout the film, it would perhaps have been nice to explore more of the working relationship which they have simultaneously shared and maintained for so long. I also particularly enjoyed Gemma Jones (Harry Potter) and Charlie Rowe (The Boat That Rocked) in their smaller roles. Usually, I am a fan of Bryce Dallas Howard (Jurassic World), but she gave an uneven performance here. She appeared to struggle with the English accent and I found her disconnected from the character. There were definitely a few shining moments, but I feel that another actress would have been better suited to the role.

What absolutely must be mentioned is the outstanding work from the Costume department. There would be plenty to feast your eyes on even if this were a silent film. So many iconic looks have been recreated here and they are so gloriously outrageous and beautiful. Even in the credits, we are treated to side by side stills of each of the costumes worn by Taron Egerton and Elton John respectively so that you can see the history and verity of all these insane articles.

In fact, Elton worked closely with the whole team throughout the creative process, and I think it really shows. This movie, unlike Bohemian Rhapsody which was an audience-accessible crowd-pleaser, took the risk to push for an R rating and took the opportunity to showcase the darker moments in Elton’s personal history without ever really detracting from the overall levity and enjoyment you’d anticipate from a film like this. I didn’t realise before I watched the film just how little of the story I knew, and now I can’t stop listening to his music. He’s an absolute legend, worthy of having a film to tell his story, and I’m glad it’s this one.

My Rating: 4/5 stars, putting it in my Watch Because category.

Watch Because … it’s the Elton John musical extravaganza! It’s something a little different from what you’d expect (and what the trailers portray), with that always-enticing nugget of ‘True Story’ attached.

Public’s view: This movie averages 82/100 across IMDb, Rotten Tomatoes and Metacritic.

Fun Fact: Elton John’s middle name is Hercules!

Rocketman is currently showing in cinemas. Please support film and the art of filmmaking by seeing this movie legally.

As always, I’d love to hear your thoughts. What did you think of this film? If you enjoyed this review, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

Lunatics (2019): Series Review

A Spoiler-Free Review

Directed By: Chris Lilley

Genre: Comedy, Mockumentary

Episodes: 1 series, 10 episodes at approximately 30min

Lunatics is the latest invention of Chris Lilley, the actor and mind behind such characters as Ja’mie: Private School Girl and Mr G from Summer Heights High. Admittedly, I was not that familiar with Chris’s work before Lunatics, but I was intrigued enough by the trailer and his reputation to give the show a go.

The show follows six different characters, all of whom are played by Lilley: a pet psychic, a retired porn star, a preteen heir, a real estate agent, a fashion designer and an unusually tall college girl. While some of these characters are occasionally amusing or have somewhat engaging story arcs, others are grating or downright unwatchable. The show teeters between being an attempt at comedy farce and fictionalised reality television, where I’m never quite sure if I’m supposed to be laughing at or feeling sorry for the people onscreen. This is particularly highlighted in the instance of Becky, the college student, who just wants to make crafts and friends but is cruelly bullied and relentlessly isolated. This character next to a fashion designer named Keith who opens a store named ‘My Dick’ and is in a romantic relationship with his cash register doesn’t make much sense. I’m not sure what Chris is trying to say, if anything.

Lilley has been accused before of crossing the borders of political correctness, but this doesn’t have to be an inherently bad thing. However, in this case, we often wander into unsavoury territory which feels odd and dated. Some of the jokes may have played better in an earlier socio-political climate, indicating that Lilley has declined to develop his comedy and grow with the times. Even the title Lunatics demonstrates this discord. So many jokes depend on shock value, mostly cussing, but after a few hundred uses of the C-word there’s little more response than an eye-roll or maybe pressing the mute button.

There is no reason for this show to span the ten episodes which it does. After an hour or so with these characters, the series becomes a dire slog of predictable crassness. If some more care had been taken, if some characters had been refined, if the tone had been firmly set, there could have been something worth watching here; an interesting dissection of our obsessions with social media and reality TV, something challenging expectations and pushing boundaries in an incisive and inventive way. The reason I kept watching is I was hoping that at some point the show would make this turn and pull the rug out, but it never did. Sadly, everything feels cobbled together and the set-up has been done before – about twenty years ago. It really could have benefited from someone trailing after Lilley and questioning his choices; he’s been given a little too much free reign, generating something rushed, confused, offensive and ultimately hollow.

This all being said, Chris is clearly a talented actor, and though the tone and message were confused, all the characters were fully realised and distinct from one another. The reputation he had already garnered shows that there is something about him and his comedy which works. However, all comedians have the daunting and unforgiving task of ageing with their audience, though I appreciate it can be difficult to accept that what was funny a decade ago isn’t funny anymore. Hopefully Chris can chalk this one down to experience and will return to our screens with something fresh in the future.

My Rating: I give Lunatics 1/5 stars, placing it in my Don’t Bother category.

Public Opinion: Lunatics averages 64/100 across IMDb and Rotten Tomatoes.

Lunatics is currently streaming on Netflix.

Quick Reviews: 11 Recent Watches

I watch a lot of movies. And sometimes, you don’t want to read a whole review of each one, you just want to know if it’s worth watching. So, here are eleven movies which I have watched recently (that weren’t released this year). They’ve been ranked in order of my preference, with a little bit of info on who stars, who directs and what to expect. As usual, you can find the public opinion and a fun fact for each one.

This is also a good opportunity for you all to see just how I score and rate movies. I score 20 categories out of 5 each, which are grouped into what I think are the main aspects of a film: Writing, Acting, Filmmaking and Entertainment. Movies which score:

0 – 40 are ‘Don’t Bother’ films. These are movies which I don’t recommend or didn’t enjoy watching or both. Don’t Bother.

40 – 65 are ‘Only Watch If’ films. These are movies I generally wouldn’t recommend but aren’t totally without merit. A good example is the Saw franchise: objectively bad but entertaining. So, Only Watch If you really like gory, torture movies.

66 – 75 are ‘Watch When’ films. These are films I enjoyed that I would recommend, but usually with a caveat. They’re movies I see as flawed one way or another, but still good. A lot of movies fall into this bracket. Watch When you’re in the right mood or with the right people.

76 – 90 are ‘Watch Because’ films. These are movies that I enjoyed, and I would recommend. Watch Because the acting is good, the script is good, it’s well-made and it’s entertaining.

90 – 100 are ‘Don’t Miss’ films. These are the absolute best of the best and I don’t give out ‘Don’t Miss’ lightly. These are the movies which have something really special about them, that little something extra beyond just being all-around good.

Now that’s out of the way, on with the Quick-Fire Reviews. Starting with…

DON’T MISS

Requiem for a Dream (2000)

Directed By: Darren Aronofsky (Black Swan)

Starring: Ellen Burstyn (The Exorcist), Jared Leto (Suicide Squad), Jennifer Connelly (A Beautiful Mind) and Marlon Wayans (White Chicks).

I absolutely loved this movie. It’s a good sign when you sit in stunned silence as the credits roll. This movie is not an easy watch and has some intense subject matter, but it is beautifully created and the performances of all the lead cast are strong and powerful. The whole movie runs like an acid trip, for better and worse.

My Rating: I give this movie 92/100 with scores of 27/30 in Writing, 19/20 in Acting, 24/25 in Filmmaking and 22/25 in Entertainment.

Public View: This movie averages 81/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Jared Leto made friends with addicts and whenever they would shoot up heroin, he would shoot up water.

WATCH BECAUSE

Atonement (2007)

Directed By: Joe Wright (Darkest Hour)

Starring: Saoirse Ronan (Lady Bird), James McAvoy (Split), Keira Knightley (Pirates of the Caribbean), Brenda Blethyn (Pride and Prejudice).

This was a movie that I have seen before and wanted to see again, and I enjoyed it even more on a second viewing. Profoundly moving, this is a character-driven story with the best work I’ve ever seen from Keira Knightley. Other young actors and actresses make smaller appearances, including Juno Temple and Benedict Cumberbatch. Based on a book by Ian McEwan.

My Rating: I give this movie 88/100 with score of 27/30 in Writing, 20/20 in Acting, 21/25 in Filmmaking and 20/25 in Entertainment.

Public View: This movie averages 82/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Saoirse Ronan was nominated for an Oscar for her work in this movie – she was eleven years old.

No Country for Old Men (2007)

Directed By: Coen Brothers (Fargo)

Starring: Tommy Lee Jones, (The Fugitive), Javier Bardem (Skyfall), Josh Brolin (Avengers: Infinity War) and Kelly MacDonald (Trainspotting).

This movie really got under my skin. I would advise anyone who is a fan of Westerns to give this movie a go, but don’t expect a typical cat and mouse tale. It takes the formula of a classic spaghetti and subverts expectations in an intriguing and unnerving fashion. Javier Bardem’s iconic performance is one you’ll remember.

My Rating: I give this movie 85/100 with a score of 26/30 in Writing, 18/20 in Acting, 20/25 in Filmmaking and 21/25 in Entertainment.

Public View: This movie averages 88/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie is based on a 2005 book by Cormac McCarthy and is known as a post-modern western.

Spirited Away (2001)

Directed By: Hayao Miyazaki (Howl’s Moving Castle)

Starring: Rumi Hiiragi (Ponyo), Miyu Irino (A Silent Voice), Mari Natsuki (Isle of Dogs) and Takashi Naito (From Up On Poppy Hill).

I’ll admit – I have not seen much anime. This movie was vastly different from what I was expecting ;it was visually stunning, emotionally rich and remarkably complex for a children’s movie. I imagine this is one you could continue to enjoy again and again, interpreting and reinterpreting the events and message to suit the mood of the viewer.

My Rating: I give this movie 81/100 with a score of 20/30 in Writing, 15/20 in Acting, 25/25 in Filmmaking and 21/25 in Entertainment.

Public View: This movie averages 94/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie was not made with a script.

WATCH WHEN

Bohemian Rhapsody (2018)

Directed By: Bryan Singer (X-Men: Apocalypse)

Starring: Rami Malek (Mr. Robot), Lucy Boynton (Murder on the Orient Express), Gwilym Lee (Midsomer Murders) and Ben Hardy (EastEnders).

Props for acting. The entire band are completely embodied by their actors. I loved the cameo from Michael Myers. Obviously, the music is incredible. I do have issues with the portrayal of Freddie’s bisexuality in the movie as it appeared to be equivocated with his fall from grace. It would have benefited from being rated 15 to really explore more of the man and less of the legend.

My Rating: I give this movie 75/100 with a score of 18/30 in Writing, 18/20 in Acting, 22/25 in Filmmaking and 17/25 in Entertainment.

Public View: This movie averages 71/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Rami Malek wore prosthetic teeth which he had cast in gold after the suit.

Cruel Intentions (1999)

Directed By: Roger Kumble (The Sweetest Thing)

Starring: Ryan Phillippe (Crash), Sarah Michelle Gellar (Buffy the Vampire Slayer), Selma Blair (The Sweetest Thing) and Reese Witherspoon (Legally Blonde).

It’s a classic. Sexy people being horrible to one another. It’s funny, it’s opulent and the characters just teeter on the edge of caricature. It’s amazing how many of the young actors who starred in this movie went on to have longstanding careers in Hollywood. It’s a great slumber party, cheese-and-wine-night black-comedy with a thin layer of sleaze. Available on Netflix.

My Rating: I give this movie 74/100 with a score of 24/30 in Writing, 15/20 in Acting, 16/25 in Filmmaking and 19/25 in Entertainment.

Public View: This movie averages 65/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This movie is based on another book and film, Dangerous Liaisons.

Solo: A Star Wars Story (2018)

Directed By: Ron Howard (Rush)

Starring: Alden Ehrenreich (Hail! Caesar), Emilia Clarke (Game of Thrones), Woody Harrelson (Three Billboards Outside Ebbing, Missouri) and Donald Glover (Community).

I wasn’t expecting to enjoy this as much as I did. It’s an original story with a great mix of classic and new characters and environments. I think Alden Ehrenreich does a great job of evocating Harrison Ford’s speech and mannerisms. It’s not quite as good as Rogue One, but it’s still far better than Episodes I and II. It might even be better than Episode VIII.

My Rating: I give this movie 71/100 with a score of 19/30 in Writing, 14/20 in Acting, 20/25 in Filmmaking and 18/25 in Entertainment.

Public View: This movie averages 67/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: The only Star Wars film to date which does not mention the Jedi.

The Conjuring 2 (2016)

Directed By: James Wan (Saw)

Starring: Vera Farmiga (Orphan), Patrick Wilson (Insidious), Madison Wolfe (Ouija: Origin of Evil) and Francis O’Connor (Bedazzled).

The Conjuring is one of the best horror movies of the century, so I was really excited at the prospect of a sequel following another Ed and Lorraine Warren case. I enjoyed the implications that the Enfield poltergeist may have been a hoax, but I wish it was explored even more. It’s well-made, not particularly scary, but does have that splash of history that we all love in a horror. Available on Netflix.

My Rating: I give this movie 68/100 with a score of 16/30 in Writing, 12/20 in Acting, 22/25 in Filmmaking and 18/25 in Entertainment.

Public View: This movie averages 75/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Loosely based on the real-life Warren’s investigation of the Enfield poltergeist, the longest recorded case of poltergeist activity in UK history.

Deadpool 2 (2018)

Directed By: David Leitch

Starring: Ryan Reynolds (The Hitman’s Bodyguard), Josh Brolin (No Country for Old Men), Morena Baccarin (A Series of Unfortunate Events) and Zazie Beetz (Geostorm).

It’s crude, it’s funny, it’s got some great moments. However, this movie felt a little overstuffed for me. Three different villains, numerous new allies, remarkably few returns from the previous movie. In all, it felt a little rushed and I would have preferred to wait another year to refine this entry, so that it didn’t feel like a cash-grab setting up myriad sequels.

My Rating: I give this movie 66/100 with a score of 15/30 in Writing, 14/20 in Acting, 18/25 in Filmmaking and 19/25 in Entertainment.

Public View: This movie averages 78/100 a across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: This sequel was announced only three days after the release of the original.

ONLY WATCH IF

Creep 2 (2017)

Directed By: Patrick Brice (Creep)

Starring: Karan Soni (Deadpool), Mark Duplass (The Lazarus Effect), Desiree Akhavan (The Bisexual) and Kyle Field (The Overnight).

Creep was an interesting venture for underground horror fans, filmed in documentary-style with hand-held cameras and just two actors. Personally, I think the sequel improves on the original, having a much more interesting, and far less predictable, premise. It certainly gets points for originality and is entertaining enough. Available on Netflix.

My Rating: I give this movie 48/100 with a score of 10/30 in Writing, 13/20 in Acting, 8/25 in Filmmaking and 17/25 in Entertainment.

Public View: This movie averages 78/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: The majority of the film was improvised.

DON’T BOTHER

The Lodgers (2017)

Directed By: Brian O’Malley (Let Us Prey)

Starring: Charlotte Vega (American Assassin), Bill Milner (X-Men: First Class), Eugene Simon (Game of Thrones) and David Bradley (Harry Potter).

While this movie is set in a beautiful location and has some intriguing moments and imagery, it meanders from dull to confusing and back again. No movie should feel like an effort to get through, but this one did. Astoundingly anticlimactic, the ambiguity did not leave me guessing what could have been implied, rather I assumed that the writer didn’t even know what they meant. Available on Netflix.

My Rating: I give this movie 37/100 with a score of 10/30 in Writing, 8/20 in Acting, 12/25 in Filmmaking and 7/25 in Entertainment.

Public View: This movie averages 51/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Fact: Filmed in Loftus Hall, one of Ireland’s most haunted houses.

And that’s my list ! Let me know what you thought of these films or if you liked this format for quick reviews. If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

Pet Sematary (2019): Movie Review

A Spoiler-Free Review

Directed By: Kevin Kölsch and Dennis Widmyer

Genre: Horror, Thriller, Mystery

Pet Sematary is the second Hollywood attempt to bring Stephen King’s terrifying novel to the big screen after the 1989 mediocrity of the same name. Sadly, the source material is not best reflected by this latest offering. While there are admittedly a few scares, some solid actors and above-average production value, the movie never quite ascends to where it should. So many plot and exposition elements were stripped from the book, and while this prevents the movie from being over-explained and having too many extraneous characters, what is left is simplistic and predictable, falling into the traps of cliché and digging graveyards of plot holes.

One of the biggest issues with the film was that Jason Clarke’s protagonist Louis was not particularly interesting to follow. His dialogue was monotonous, his actions moronic and his character one-dimensional. By comparison, Rachel, played by Amy Seimetz, had an intriguing past which gave us the creepiest moments of the movie, but she is underutilised, often written as being away from the family home so that the audience can spend more time with the father. John Lithgow’s character could well have been made more interesting than it was. He is a very talented actor who made the most of what he is given, but his role is reduced to primarily exposition. Richer emotional moments for his character are skirted around and since he serves as the only other main character outside the family, he often speaks and acts contradictorily. These characters were not written well enough to hold up the movie by themselves, overshadowed by an actual cat.

The themes of religion and the history of the titular pet cemetery (it is misspelled by the local children) are surface-level at best, believing a panning shot over some open textbooks is sufficient for the audience to understand the complex Native American lore. Darker character arcs are teased but never explored, story lines are half-finished and not properly integrated with the primary plot, which feels like a tremendous waste of potential. The film could have been an interesting dissection of life-after-death and faith in the face of tragedy, but we sadly never get a chance to go six feet deep. The script is weak, the plot and characters are thin, the dialogue is shallow and sometimes laughable for all the wrong reasons. More positively, the cinematography is adequate, the makeup and CGI do not pull you from the reality on-screen and the young actors are talented enough to work with their adult co-stars. This is not enough to save the movie, however.

In conclusion, I almost felt my intelligence and attention span were being a little insulted by this movie. An audience is willing to spend time understanding characters, setting and key plot elements and does not need foreshadowing to be as obvious as an early jump-scare. I was disappointed with the final product and think this movie will be easily forgotten. Perhaps a third iteration will be attempted in a few years with some success; it would not be hard to write a script better than this one. Or perhaps Pet Sematary lives up to its tagline:sometimes dead is better.

My Rating: 1/5 stars, putting it in my Don’t Bother category.

Don’t Bother … seeing this movie in cinemas, if you see it at all. The most enjoyable part of my night was discussing all the ways in which this movie could easily have been improved. My recommendation is that you read the book by Stephen King; the source material is full of rich lore.

Public’s view: This movie averages 55/100 across IMDb, Rotten Tomatoes and Metacritic.

Fun Fact: There are numerous references to other works by Stephen King, including Cujo, The Shining, The Dark Half and Graveyard Shift.

Pet Sematary is currently showing in cinemas. Please support film and the art of filmmaking by seeing this movie legally.

Us (2019): Movie Review

A Spoiler-Free Review

Directed By: Jordan Peele

Genre: Horror, Thriller, Mystery

Us is the latest feature length release from Jordan Peele, the mind behind the phenomenal 2017 psychological thriller Get Out. With such a dynamic directorial debut, one which garnered recognition from the Academy Awards, Us was in placed in a difficult position: it had to live up to its predecessor. While the movies are very different in content and ambition, the elegance and care of Peele is evident in Us and I do believe it succeeds in its intents, sparking a discussion around the contemporary American experience as Get Out did. This discussion is delivered more ambiguously in Us and to me, this indicates that Peele has no intentions of preaching to his audience, rather to highlight complex class relationships in an intelligent and creepy manner. It is not a scream-a-minute jump-scare fest, it is a critique demonstrated with horror, mystery and whispers of science-fiction.

Us follows a nuclear American family on their trip to the beach with some vapid friends. Our focus is firmly planted on matriarch Adelaide whose childhood we periodically visit in flashbacks, but we are given time with each of the family members setting up their characters. This is done through a script peppered with humour and obvious foreshadowing which concealed some of the subtler clues to the film’s conclusions. The family members appear close to one another and are predominantly very likeable, particularly Winston Duke’s Gabe, who felt fully realised and was tremendous fun to watch. This keeps you engaged and caring for the characters throughout; I truly rooted for them and wanted them to succeed, which becomes a fascinating comment on the viewer by the time the credits roll.

All the family portray dual roles in the film as their own shadow ‘Tether’, which is not only impressive from an acting perspective but also technically, with both versions of characters engaging seamlessly verbally and physically with one another. Again the focus is on Lupita Nyong’o’s (Black Panther) twins of Adelaide and Red. As Red is the only Tether who speaks, Nyong’o is given more freedom to separate and develop her two characters differences outside of non-verbal animalistic qualities which plague most of the Tethers. She gives a dynamic, layered and unsettling performance in both roles and the screen is unabashedly hers throughout.

Michael Abels returns as the composer for Us after his work on Get Out. This score feels like a character itself, which is the best kind of score. It refuses to be ignored, is often haunting and intimidating, but is also infused with hip-hop elements which is a fresh and effective twist on what we come to expect from horror thrillers. It mirrors the script and cinematography perfectly, so perhaps we are seeing the beginnings of a longstanding partnership between Abels and Peele who seem to know how to combine their talents to bring out the best in the other’s work.

This all being said; the film is not flawless. Where Get Out was incredibly localised and sat squarely within its niche, it was nearly perfected. Its concepts were restrained enough to be bound by one strand of logic and consistently follow its own rules. The sheer magnitude of what Us is trying to achieve and show on-screen automatically requires the audience to suspend their disbelief much higher and move decisively away from logic and towards metaphor. However, I don’t think the audience were provided this pathway with the script. It constantly tried to over-explain itself and the timings of these explanations were either plot holes in themselves, unnecessary or detracting from the fear and tension. There was too much jumping around following the different characters in isolation which exposed issues as rules could be exploited by one character and ignored by another as the script saw fit. It became too much about trying to understand the world presented to us than following breadcrumbs to create our own conclusions, which I think would have allowed the audience to let go and enjoy the movie more, eliminate plot holes and encourage discussions which perhaps could be successfully interpreted even if they were not Peele’s original intent. The script could maybe have spent a little longer in development and refinement, so that the remainder of the movie can be fully appreciated.

There is a lot to appreciate. The film is beautifully shot, full of nuggets of trivia, self-references and memorable imagery. There are also countless minute references to iconic directors, novels and films of the genre, fleshing the history and purpose of each frame in his work. Here I particularly felt the influence of H. G. Wells’ The Time Machine thematically and plot-wise. Peele is pushing his limits as a filmmaker and I for one am excited to see what else he could bring to the world of cinema. I hope that he will continue to explore horror and psychological thriller territory, as he seems to truly understand and respect the genre’s potential for nightmarish beauty and liberating concepts. He is elevating his craft; I see increasing similarities to the work of Kubrick and Hitchcock, steering clear of cheap thrills in favour of solid acting, quality production and tense atmosphere. If Peele can continue this upward trajectory, maintain his love for direction and take the time to hone his scripts to the standard of which we know he is capable, he could be well on his way to becoming an iconic filmmaker himself.

My Rating: 4/5 stars, putting it in my Watch Because category.

Watch Because … this film has a lot to say and any audience member will have a lot to say afterwards too. It is exceedingly well-made, and I wish to see more from Jordan Peele in the future, so his work should be seen, studied and critiqued. This is a very successful addition to the world of horror, and it should be known that an audience is not only searching for cheap jump-scares, overused CGI and liberal gore. Horror is one of my favourite genres, but it is often inherently associated with objectively bad movies, and filmmakers like Peele are those who move to change that image and prove that it does not all have to be cliched and unoriginal.

Public’s view: This movie averages 80/100 across IMDb, Rotten Tomatoes and Metacritic.

Fun Fact: Us is a play on words: it can also stand for US, or United States.

Us is currently showing in cinemas. Get Out is currently streaming on Netflix or is available on DVD. Please support film and the art of filmmaking by seeing these movies legally.

After Life (2019): Series Review

A Spoiler-Free Discussion

Directed By: Ricky Gervais

Genre: Drama, Comedy

Episodes: 1 series, 6 episodes at 30min

After Life has a simple premise: a man’s wife dies of cancer and he grows depressed, adopting a devil-may-care attitude and generally mistreating everyone around him. Over the course of the six episodes, however, we start to see flickers of the sympathetic character buried beneath and watch as sometimes the most unexpected people and encounters elicit acts of kindness and gratitude.

I’m aware that Ricky Gervais has a polarising reputation, but he does have a knack for constructing British dramedy, such as The Office, Derek and Extras, all of which I enjoyed. His blend of observational and shock humour allows us space to laugh at things that we perhaps shouldn’t, treading a line between hilarious and awkward with delicate expertise. Not everyone wants to feel themselves squirming uncomfortably as they laugh, but if you enjoy challenging your own boundaries and exploring the border of political correctness, Ricky Gervais often does not disappoint.

After Life is the darkest venture that I’ve seen from Gervais’ series and does include potentially triggering content when we see our protagonist at his lowest. The depiction of depression has some honest moments: the inability to perform menial tasks like the washing up, buying groceries or cooking; the small reasons, such as needing to look after the dog, are the ones which ultimately keep him going; and the impulse decisions towards self-destructive behaviours. The cardboard characters become increasingly three-dimensional and start to serve less purpose to our protagonist’s narrative as he starts to realise that they are all their own people with their own lives outside of his own, which was unexpected from the first couple of episodes and a welcome change of pace.

Ricky Gervais puts in a commendable turn as our grieving widower, though this feels less like acting than a close iteration of Gervais himself placed in an unfamiliar situation; there are a number of monologues which I know reflect Gervais’ own views, especially with regard to religion. As a fan, I am more than happy to follow him as our lead, but others may struggle to lose themselves in the character. Among the supporting cast, there are a great number of familiar faces: the hilarious Roisin Conaty as sex-worker Roxy, David Bradley of Harry Potter fame as Gervais’ ailing father and a welcome return from Extras regular Ashley Jensen as his nurse. We also see Downton Abbey’s Penelope Wilton in my most endeared role, the widowed Anne, and Diane Morgan (a.k.a. Philomena Cunk) provides my favourite comic relief in Kath.

As a standalone series it does perhaps end a little twee, but a second series is in the works. The comedy does perhaps restrict the depth of darkness that the characters were allowed to explore, resulting in some surprisingly bleak or morally questionable moments being quickly glossed over or otherwise forgotten. However, for the episode time-span and wider audience accessibility, I think this is an allowable concession.

The show explores familiar ground in a way that feels fresh and relevant with rising discussion of mental illness, occasionally reaching highs of poignant clarity. In my opinion, very much so worth a watch. Looking forward to Season 2!

Favourite quote: Happiness is amazing. It’s so amazing, it doesn’t matter if it’s yours or not.

Public Opinion: After Life averages 82/100 across IMDb and Rotten Tomatoes.

After Life is currently streaming on Netflix.

As always, I’d love to hear your thoughts. What did you think of this series? If you enjoyed this piece, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

Top Movie Franchises for Kids of All-Ages

Movie Franchises. Some we love (Marvel Cinematic Universe) and some we hate (Transformers). Some start well and fall apart (Alien) and some are so maddeningly inconsistent that we must make our minds up on a case by case basis (Star Trek). It is my belief that we fall in love with franchises when we are children, when we have endless patience for exploring the lengths and depths of new worlds and characters, even when the movies themselves grow increasingly shallow and poorly constructed – just look at the straight-to-DVD Disney sequels of the nineties and noughties.

That aside, there are a number of kid-friendly movie franchises which have multiple solid entries in their portfolio. The very best of these are the ones which appeal to adults and kids alike, either as we grow older and enjoy the nostalgia or take children of our own to the cinema. So, to celebrate where our (or at least my) love of movie franchises began, I’ve compiled a list of the Top 10 movie franchises which are appropriate for all ages.

The Rules: There are a few caveats as to how I categorised and ranked these franchises.

– There must be at least three movies in the franchise.

– All the movies in the franchise must be rated PG, G or U (though I’ll allow one 12A exception if there are already three movies which are PG, G or U)

– The franchise must be reviewed as a whole, so a brilliant first movie may not make up for a batch of lousy sequels.

Now we have that out of the way, on with the list:

10. Spy Kids

Movies: Spy Kids (2001), Spy Kids 2: Island of Lost Dreams (2002), Spy Kids 3D: Game Over (2003), Spy Kids 4D: All The Time in the World (2011)

Iconic line: Do you think God stays in Heaven because he too lives in fear of what he’s created?

Alright, alright. I know they’ve aged badly, and the special effects are not nearly as impressive as they once were. The acting is cheesy, the sets are bizarre and the premise comical. However, I couldn’t make a list about my favourite kids’ movie franchises without giving a shout-out to Spy Kids. If you let yourself relax and don’t take them too seriously, you’ll understand or remember exactly what’s to love about it. Packed with inventive gadgets, colourful characters and a surprisingly star-studded cast, the Spy Kids movies are light-hearted, low-budget espionage at its most melodramatic. Plus, this iconic line is one of the greatest and most philosophical in children’s movie history. Just don’t watch the fourth one. Honestly, don’t.

9. The Chronicles of Narnia

Iconic Line: Things never happen the same way twice, dear one.

Movies: The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005), the Chronicles of Narnia: Prince Caspian (2008), the Chronicles of Narnia: Voyage of the Dawn Treader (2010).

Based on the beloved series of books by author C. S. Lewis, adults and children alike were excited and intrigued to learn The Chronicles of Narnia were making the leap to the big screen. Using similar techniques to The Lord of the Rings to bring the mythical creatures and mystical world to life, we were more than happy to step through the wardrobe with the Pevensie children. Though they perhaps never quite lived up to the complexities and magic of the books, and we were only ever presented with three of the seven stories, the cinematography is memorable and occasionally breath-taking, alongside admiral performances from Tilda Swinton, James McAvoy, Jim Broadbent and its four young protagonists.

8. Despicable Me

Movies: Despicable Me (2010), Despicable Me 2 (2013), Minions (2015), Despicable Me 3 (2017),

Iconic line: It’s so fluffy, I’m gonna die!

The original Despicable Me movie released in 2010 by Illumination Entertainment was a surprise delight. It introduced us to a clever subversion into the qualities which we typically associate with villains in animated film, endeared us to three intelligent, spunky children and their reluctant adopted father, and amused us with the antics of the bizarre Minions. Personally, I was not nearly as impressed with the movies that followed the initial venture, but there is clearly something about these movies which refuses to be ignored. As of 2019, all three of the Despicable Me sequels/spin-offs are in the Top 10 Highest Grossing Animated Movies of all time, a feat which is unmatched by any other animated franchise.

7. The Lion King

Movies: The Lion King (1994), The Lion King 2: Simba’s Pride (1998), Lion King 3: Hakuna Matata (2004)

Iconic Line: Long live the King.

The Lion King is undoubtedly one of the greatest animated movies of all time. Loosely based on the Shakespeare story of Hamlet, the 1994 Disney film gave us staggering visuals, a climactic Elton John score and one of the most vicious villains of all time in Scar. These elements are not present in the sequels, which is why this franchise does not make its way further up the list. However, Simba’s Pride, despite less impressive animation, music and villains, does have its memorable moments. There is greater moral ambiguity to all our characters, moving away from the typical Disney tropes, and a few of the songs are catchy enough to inspire a sing-along. Hakuna Matata is also entertaining enough, following fan-favourites Timon and Pumbaa through the timeline of the original movie. Safe to say, the first film is the clear standout, but its sequels do not mar its reputation.

6. Indiana Jones

Movies: Raiders of the Lost Ark (1981), Indiana Jones and the Temple of Doom (1984), Indiana Jones and the Last Crusade (1989), Indiana Jones and the Kingdom of the Crystal Skull (2008).

Iconic Line: He chose … poorly.

The 2008 disappointment that was Kingdom of the Crystal Skull is sadly most people’s recent memory of this franchise. Even with its influence, however, the Indiana Jones movies would probably still rank here on my list. Indiana Jones is a balanced hero, both an intelligent professor of archaeology and daredevil whip-wielding explorer, flawed but ultimately moral and altruistic. There is a blend of histories and mysteries, action and comedy, snakes, insects and Nazis. With Harrison Ford in his late thirties and forties for filming, he inspired more than children to live their own adventures, and the movies are as entertaining now to those who saw them on their cinema openings.

5. How to Train Your Dragon

Movies: How to Train Your Dragon (2010), How to Train Your Dragon 2 (2014), How to Train Your Dragon 3: The Hidden World (2019)

Iconic Line: Everything we know about them is wrong.

How to Train Your Dragon has released its third instalment, titled The Hidden World, this year to favourable reviews after the enormous success of its first two outings. The animation quality is the finest that DreamWorks has to offer, with beautiful attention to detail. The movies boast sensitive portrayals of disability as many characters and animals have rudimentary prosthetic limbs, and there is a wonderful message against prejudice and towards education and understanding. At the same time, there are several hilarious moments, there is a great deal of grounded character development and the plot is exciting and action-packed throughout. It is playful enough to amuse children and emotionally rich enough to satisfy adults. I can’t think of anyone who wouldn’t enjoy these movies.

4. Shrek

Movies: Shrek (2001), Shrek 2 (2004), Shrek the Third (2007), Shrek Forever After (2010)

Iconic Line: Ogres are like onions.

Of course, Shrek had to make an appearance. This franchise turned the typical Disney-esque story on its head, transforming a monstrous ogre villain into our unlikely hero, a beautiful imprisoned princess into a sassy, yet still very much so feminine, martial artist, and a conventional Prince Charming into a smarmy, spoiled brat who needs his mummy. The fairy-tale creatures we all know and love from our storybooks are all brought to life with character traits and hidden motivations that we never anticipated, the action sequences are dramatic and thrilling, the love story one of the most relatable, genuine and enjoyable in animated movie history. The pop culture references and familiar soundtrack keep the film off-beat and fresh, although they may now be dating the films. While the series dipped in quality during its third outing, I enjoyed the ambition of Forever After, and Shrek 2 may well be the best sequel to an animated movie. Plus, this cast of voice actors is unparalleled.

3. Star Wars Original Trilogies

Movies: Star Wars Episode I: The Phantom Menace (1999), Star Wars Episode II: Attack of the Clones (2002), Star Wars Episode III: Revenge of the Sith (2005), Star Wars Episode IV: A New Hope (1977), Star Wars Episode V: The Empire Strikes Back (1980), Star Wars Episode VI: Return of the Jedi (1983).

Iconic Line: Use the force, Luke.

The Star Wars films were such box-office smashes because of how they appealed to adults and children alike, igniting imagination everywhere as we studied the history of a galaxy far, far away. Aliens, spaceships, Jedi, Sith, light-sabers, storm-troopers and the force: Star Wars is such a staple of modern culture even now that you can know thousands of plot elements and characters before ever sitting down and watching it. If I were only ranking the original trilogy, it may have pushed its way even higher up the list, but sadly the uneven prequels do let the side down, particularly Episode II. I’ve not included the recent entries since their trilogies cannot be evaluated without the final components (Episode IX due December 2019) and they are all rated 12A, assuming their audience to be the children who watched Star Wars in the seventies and eighties now all grown up. Nevertheless, Star Wars continues to hold its power over the general public, drawing us back to the home movie system and cinema time and time again.

2. Back to the Future

Movies: Back to the Future (1985), Back to the Future Part II (1989), Back to the Future Part III (1990)

Iconic Line: Roads? Where we’re going, we don’t need roads.

This eighties trilogy still holds up. Marty McFly and Doc Brown’s adventures through time are, ironically, timeless classics. Outside the obvious use of a time-travelling DeLorean, the real suspension of disbelief nowadays comes from when, in the second film, Marty travels to the distant future … of 2015. While we are all disappointed that Hoverboards are not quite the reality we were promised by these flicks, there is so much here to enjoy: the multi-roleplay of characters across numerous decades and timelines, the alliance between charming, charismatic Marty and the quirky, inventive Doc, and the consistent humour and diligence to adhere to the constructed time-travel logic. I first watched these when I was five or six and still sit down around once a year to watch the trilogy, never tiring of its antics. An absolute winner.

Honourable Mentions: And before we get to number one, here are a few that didn’t quite make the list, usually because the first movie isn’t great enough to pull up the sequels.

Night at the Museum: offers an insight into historical figures for adults and kids alike but are increasingly thin on plot, making them feel like one long skit.

Home Alone: love the first one, like the second one, the less said about the rest the better after they replaced all the cast.

The Santa Clause: entertaining enough to have on in the background over the Christmas holidays.

Ice Age: I enjoyed the first couple then it lost me, and I don’t feel they quite have the same appeal to adults as they do for children.

Madagascar: I enjoyed the first one but wasn’t particularly impressed with any of the sequels as caricatured characters became grating and overused.

Drum roll, please. The number one best movie franchise for kids of all ages is …

1. Toy Story

Movies: Toy Story (1995), Toy Story 2 (1999), Toy Story 3 (2010).

Iconic Line: To infinity and beyond!

It had to be Toy Story. Somehow the creators have managed to gift us three films which are of near-equal standard to one another. The animation was pioneering, the characters flawed and fleshed out, the plots all vastly different from one movie to the next, exploring different aspects and challenges which face the toys in a world where they come to life. Somehow the introduction of new characters in each sequel is never overwhelming or unnecessary but enriches the environment of those we already know and love. The voice actors are outstanding, boasting names like Tom Hanks, Tim Allen, Joan Cusack and Don Rickles. The animators are unafraid to put our characters in real jeopardy and push their negative traits to their maximum, forcing us to recognise that even people we love are not perfect and that’s okay. There is endless space for creativity as there are thousands of different kinds of toys, some verbal and some non-verbal, some anthropomorphic, some vehicles, one literally a walking Etch-a-Sketch. Each movie packs an emotional punch and hundreds of tiny life-lessons to carry with us always. My only hope is that Toy Story 4 due for release later this year is able to maintain this standard; it’s not going to be an easy task!

And that’s my list! As always, I’d love to hear your thoughts. What did you think of these movies and my ranking? If you enjoyed this list, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

A Clockwork Orange (1971) Movie Review

A Spoiler Free Discussion

Directed By: Stanley Kubrick

Genre: Crime, Drama, Sci-Fi

Based on Anthony Burgess’ book of the same name, A Clockwork Orange follows Alex DeLarge, a sadistic gang leader obsessed with Beethoven and ultra-violence as he is presented with an opportunity to reform and curb his natural criminal tendencies. For a movie which revels in its futuristic dystopian setting and deplorable depravity, it is a surprisingly philosophical and religious story on the essence of humanity.

This is Kubrick at his best. Kubrick was known for his attention to detail, sometimes to the extent that he irritated his actors by demanding multiple takes of an arduous scene. However, it must be said that Kubrick’s skill behind the camera is impressive and perhaps this obsession with perfection does bear some small justification. Pausing on any frame of A Clockwork Orange generates a perfectly crafted still photograph, more reminiscent of theatre than film, as it is not quite as naturalistic but certainly more striking. Kubrick often sets his characters centrally or even symmetrically, enclosed by two walls, which feels claustrophobic and contained as a theatre stage or comic book panels, forcing the eye of the viewer exactly where Kubrick intends.

A director is only as good as his script and fortunately, the source material provided almost all the dialogue present in the movie. This was to such an extent that most of the cast and crew carried around copies of the novel over the screenplay. Malcolm MacDowell, Michael Bates and Warren Clarke gift us characters almost straight off-the-page, sure to please any avid reader. Of course, there are differences as there always are in book-to-film translation, plot points are altered, scenes switched around and additions made. For example, the famous ‘Singin’ in the Rain’ sequence does not feature Alex singing and dancing as he and his ‘droogs’ commit their crimes. However, A Clockwork Orange is still one of the most faithful adaptations of a novel, up until its end. Similar to popular and faithfully adapted Fight Club, the last chapter of the book is not adapted into the screenplay, which is an interesting choice since it completely alters the tone and message of the book. Perhaps had this last scene been included, the film may not have caused the controversy which it did, but likewise, it may not have been nearly as iconic and come across as preaching or unrealistic.

A Clockwork Orange was pulled from distribution in the UK two years after its release and did not become freely available again until 2000, a year after Kubrick’s death. Kubrick pulled the film from distribution himself after he and his family received numerous death threats, and there were two crimes in the UK which attempted to emulate those of Alex and his gang. Video stores were so inundated with requests for the movie that many had printed signs that read: ‘No, we do not have A Clockwork Orange’. It is not hard to see why the film is controversial and potentially dangerous, arguing that free will is an essential component of human nature, regardless of whether that free will is used for good or evil. The film proposes several polarising arguments and scenarios which certainly ignites a utilitarian and humanitarian philosophical debate. Despite the controversy, the film was nominated for four Academy Awards and is still widely regarded as one of the greatest movies of all time.

My Rating: 5/5 Stars, putting it in my Don’t Miss category.

Don’t Miss … this performance by Malcolm MacDowell. It is haunting, comical and sadistic all rolled into one, outshining his fellow cast-members. A violent and sociopathic but strangely charismatic protagonist, which is my favourite kind. This movie demands your full attention and emotional investment, so dim the lights and don’t say a word as Beethoven floods from the speakers.

Public’s View: This movie averages 86/100 across IMDb, Metacritic and Rotten Tomatoes.

Fun Facts: Malcolm MacDowell was nearly blinded and cracked several ribs during filming. Gene Kelly was disgusted with the use of his signature song ‘Singin’ in the Rain’ and refused to talk to Malcolm MacDowell when they met. The title A Clockwork Orange is never stated in the film but is supposed to refer to the absurdity of a natural thing being made mechanical.

A Clockwork Orange is rated 18 and is available on Now TV, Amazon Prime or Google Play. Please support film and the art of film-making by purchasing this movie legally.

As always, I’d love to hear your thoughts. What did you think of the movie? If you enjoyed this discussion, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!

Isn’t It Romantic (2019) Movie Review

A Spoiler-Free Review

Directed By: Todd Strauss-Schulson

Genre: Romantic Comedy

Champagne, roses, makeover montages and meet-cutes: you’ll find every romantic trope stuffed into this ninety-minute runtime. The difference is, this time, your cynical friend heckling from the cheap seats and throwing popcorn at the screen every time the music swells is our protagonist.

While it is amusing to watch as Rebel Wilson points out that car-rides only last eighteen seconds and somehow her ‘gay best friend’ doesn’t seem to have any job or responsibilities outside providing a shoulder to cry on, the movie falls short of being something special. It’s not ridiculously wacky or melodramatic enough to truly be a parody, nor is it subversive enough to make us take note of the underlying, potentially misleading or damaging messages in romantic comedies. It does have a message of its own which is worth taking away, but it can’t quite justify the uneasiness of the journey.

Rebel Wilson (Bridesmaids) plays Natalie, our suitably adorkable romantic heroine. She is charming enough to hold her own in the lead role and her usual crass attitude and physical humour shines through. Once again, she shares the screen with Pitch Perfect co-star Adam Devine who plays her long-time co-worker and due to the many films where they have appeared together, they make believable on-screen friends. Rich, beguiling billionaire Blake is portrayed by Liam Hemsworth (The Hunger Games). To be honest, the best thing about his character is hearing his natural Australian accent which he doesn’t often get the chance to use.

As for the supporting cast, I did enjoy the performance from Betty Gilpin (GLOW) as Natalie’s secretary Whitney, but sadly her character is underused. Brandon Scott Jones’ gay best friend Donny is so over-the-top and grating that he suffers the opposite affliction to Gilpin. Priyanka Chopra’s intimidating beauty is perfect for Natalie’s rival love-interest Isabella and there is an amusing cameo in the opening sequence from Jennifer Saunders. The cast do seem to be having fun throughout, which is enough to keep the movie from feeling like a cash-in or a slog.

Written by a trio of women: Erin Cardillo, Katie Silberman and Dana Fox, and directed by Todd Strauss-Schulson, the movie is bright, colourful and cheesy from start to finish. The movie aims to celebrate the tropes of romantic comedies and accept them for what they are, but what we are left with ends up feeling unoriginal. For me, this disappointment stems from how many pathways are teased but never explored. For example, Jennifer Saunders sets up that ‘they will never make movies about girls like us’, but it never goes further into that argument than just allowing Rebel Wilson centre-stage. I thought we were going to see Rebel Wilson actively refuse to participate with the formulaic characters and surroundings, but instead her character submits to the script so that she can ‘get to the end’. The commentary is not incisive enough, the direction not inspired enough, so the movie settles somewhere in the realms of mediocrity.

My Rating: 2/5 stars, placing it in my Only Watch If category.

Only Watch If … you just want some background noise that might elicit a few laughs here and there. Stick it on when you’re doing the ironing or you and your friends are having a ‘movie night’ where you all know you have zero intentions on actually sitting down quietly and watching a movie.

Public’s view: This movie averages 60/100 across IMDb, Rotten Tomatoes and Metacritic.

Fun fact: Most of the cast made fun of Liam Hemsworth for his lack of dance skills.

Isn’t It Romantic is currently streaming on Netflix and is rated 12.

As always, I’d love to hear your thoughts. What did you think of the movie? If you enjoyed this review, give it a like, comment or share, tweet me @emmalhooker, or subscribe to this blog via my Facebook Page ‘In Touch With Humanity’ for access and updates on all my content. Cheerio!