The "unofficial trilogy" of Simon Pegg/Nick Frost/Edgar Wright collaborations goes by several names - the Blood and Ice Cream Trilogy, the Three Flavors Cornetto Trilogy... I could swear I heard a third name for it, somewhere. Regardless, I wasn't expecting much from the film, but a rollicking good time, otherwise I tend to avoid apocalyptic-style plots. I dug it for about half the film... the last half lost me. Not confused-lost, but bored/disinterested-lost. Love Pegg, love Freeman, love the accents - but I think out of the three flavors, Hot Fuzz will be my favorite. Zombies (Shawn of the Dead) aren't my thing.
The Lone Ranger
Curiously, I decided to take notes during the viewing of The Lone Ranger. This is what I had saved on my iPad:
- Questionable story structure - why? Seems like a cop out. Or Night at the Museum. Weird.
- Ruth Wilson! Not nearly as excellent or useful as on Luther. Sad face.
- Armie Hammer, from Mirror Mirror, The Social Network
- Still don't think Depp was right for this, though he was one of the first associated to the project, from early on in his Pirates days.
- Helena Bonham Carter with red hair and a delightful Southern accent that changes her dynamic with Depp. She's actually fun!
- This is about two steps up from Wild Wild West. If that.
- This is about two steps up from Wild Wild West. If that.
- Everything except for Depp is pretty good.
Oy vey. It's a tough one to call, in a way. I really wanted to like it; I had high hopes for Armie Hammer after seeing him in Mirror Mirror, but it doesn't look like leading man is really in his basket. Maybe for a Hallmark Channel romantic comedy. And Ruth Wilson, who is so sexy and such a badass on the BBC's Luther opposite Idris Elba... what a disappointment to have her burdened with a corset and an American accent. Ugh.
I'd like to avoid talking about Depp and all the reasons that he's The Lone Ranger's downfall, so all I'll say is this, about how I think this project happened. Bruckheimer was sitting on the project, and during a wrap party for one of the dozen Pirates of the Caribbean movies, he challenged director Gore Verbinski and Johnny Depp to a drinking game, or maybe a some Texas Hold 'Em. Upon winning (there may have been cheating involved), Bruckheimer signed Verbinski and Depp to this back-pocket project called The Lone Ranger. The rest shall be judged by history. And me. Which I've already done.
Saving Mr. Banks
Emma Thompson and Tom Hanks. If that doesn't spell GOOD MOVIE, I don't know what does. Two truly delightful performers in iconic roles - watch their minds go as they spar. With a dynamite supporting cast, Thompson shines as curmudgeonly P.L. Travers, authoress of Mary Poppins. Lauded by critics, the movie delivers on quality, if perhaps coming short of its hype.
As highlighted by Ms. Thompson's outspoken feminism, Mrs. Travers is a delightfully unromantic character, an atypical role for women in Hollywood. She is not a mother, nor does she aspire to be, she has no romantic designs on any of the male characters, she is intelligent, respectable, proud, but not cold. Though there are few roles like this, I have to wonder if the rarity of the role is real reason Ms. Thompson continues to be nominated for high profile awards, but without a win. Much as I love Emma Thompson, I don't think it's an award-winning performance, though I support the nomination in so far as it raises the visibility and validity of positive cinematic roles for women.
Similarly, we know Tom Hanks is very good at suggesting the older Walt Disney - though they bear no likeness to one another, they have been recognized as likeable public figures (Hanks more so than Disney). Still, without the supporting cast, our stars would have little to work with. In flashbacks, Colin Farrell is remarkably charming and paternal (where have you been, Colin Farrell?), with Ruth Wilson as his long-suffering wife. Pay careful attention to what you see, versus what you are told about these people - memory works in funny ways. In 1950s Hollywood, Travers is invited to work with a team of Disney collaborators. Bradley Whitford plays scriptwriter Don DaGradi, subject to the harsh scrutiny of Mrs. Travers' particular eye. I find that Whitford always has a soft spot in my heart, though I have no idea why, but it works in his favor as he endeavors to win over Mrs. Travers. Music and lyrics for the film were to be provided by the brothers Sherman, Robert (B.J. Novak, who may always be "B.J. Novak of The Office") and Richard (Jason Schwartzman). Outside the rehearsal room, Travers befriends her Disney-provided chaffeur, Ralph (an endearing Paul Giamatti). We know the film gets made, so the suspense isn't what keeps us watching - it's the dynamic between the various and gifted performers.
While I may not have been wowed, per say, by Saving Mr. Banks (I think it was a disservice to reveal a plot point in the title), I was quite satisfied and pleased with the result. Perhaps that's my tendency toward an English sensibility coming out.
* Listing as recommended for Saving Mr. Banks.
Oy vey. It's a tough one to call, in a way. I really wanted to like it; I had high hopes for Armie Hammer after seeing him in Mirror Mirror, but it doesn't look like leading man is really in his basket. Maybe for a Hallmark Channel romantic comedy. And Ruth Wilson, who is so sexy and such a badass on the BBC's Luther opposite Idris Elba... what a disappointment to have her burdened with a corset and an American accent. Ugh.
I'd like to avoid talking about Depp and all the reasons that he's The Lone Ranger's downfall, so all I'll say is this, about how I think this project happened. Bruckheimer was sitting on the project, and during a wrap party for one of the dozen Pirates of the Caribbean movies, he challenged director Gore Verbinski and Johnny Depp to a drinking game, or maybe a some Texas Hold 'Em. Upon winning (there may have been cheating involved), Bruckheimer signed Verbinski and Depp to this back-pocket project called The Lone Ranger. The rest shall be judged by history. And me. Which I've already done.
Saving Mr. Banks
Emma Thompson and Tom Hanks. If that doesn't spell GOOD MOVIE, I don't know what does. Two truly delightful performers in iconic roles - watch their minds go as they spar. With a dynamite supporting cast, Thompson shines as curmudgeonly P.L. Travers, authoress of Mary Poppins. Lauded by critics, the movie delivers on quality, if perhaps coming short of its hype.
As highlighted by Ms. Thompson's outspoken feminism, Mrs. Travers is a delightfully unromantic character, an atypical role for women in Hollywood. She is not a mother, nor does she aspire to be, she has no romantic designs on any of the male characters, she is intelligent, respectable, proud, but not cold. Though there are few roles like this, I have to wonder if the rarity of the role is real reason Ms. Thompson continues to be nominated for high profile awards, but without a win. Much as I love Emma Thompson, I don't think it's an award-winning performance, though I support the nomination in so far as it raises the visibility and validity of positive cinematic roles for women.
Similarly, we know Tom Hanks is very good at suggesting the older Walt Disney - though they bear no likeness to one another, they have been recognized as likeable public figures (Hanks more so than Disney). Still, without the supporting cast, our stars would have little to work with. In flashbacks, Colin Farrell is remarkably charming and paternal (where have you been, Colin Farrell?), with Ruth Wilson as his long-suffering wife. Pay careful attention to what you see, versus what you are told about these people - memory works in funny ways. In 1950s Hollywood, Travers is invited to work with a team of Disney collaborators. Bradley Whitford plays scriptwriter Don DaGradi, subject to the harsh scrutiny of Mrs. Travers' particular eye. I find that Whitford always has a soft spot in my heart, though I have no idea why, but it works in his favor as he endeavors to win over Mrs. Travers. Music and lyrics for the film were to be provided by the brothers Sherman, Robert (B.J. Novak, who may always be "B.J. Novak of The Office") and Richard (Jason Schwartzman). Outside the rehearsal room, Travers befriends her Disney-provided chaffeur, Ralph (an endearing Paul Giamatti). We know the film gets made, so the suspense isn't what keeps us watching - it's the dynamic between the various and gifted performers.
While I may not have been wowed, per say, by Saving Mr. Banks (I think it was a disservice to reveal a plot point in the title), I was quite satisfied and pleased with the result. Perhaps that's my tendency toward an English sensibility coming out.
* Listing as recommended for Saving Mr. Banks.
