Movie Review ~ The Favourite


The Facts
:

Synopsis: In early 18th century England, a frail Queen Anne occupies the throne and her close friend, Lady Sarah, governs the country in her stead. When a new servant, Abigail, arrives, her charm endears her to Sarah.

Stars: Olivia Colman, Emma Stone, Rachel Weisz, Nicholas Hoult, Mark Gatiss, Joe Alwyn

Director: Yorgos Lanthimos

Rated: R

Running Length: 119 minutes

TMMM Score: (9/10)

Review:  The last two films from director Yorgos Lanthimos were definitely an acquired taste.  The absurdist comedy The Lobster was an unlikely groundswell art-house hit in 2015 and was followed by the pitch black (and deeply deeply depressing) family drama The Killing of a Sacred Deer.  Both films were co-scripted by Lanthimos and challenged audiences in ways that went beyond the simple pushing of taboo boundaries, penetrating under your skin and giving you a nagging itch for days after.  Thankfully, The Favourite, isn’t as emotionally draining as those previous efforts but it does retain Lanthimos’s particular affinity for seeing the world through an off-kilter gaze.

Set in England during the later years of Queen Anne’s reign, The Favourite drops us into the mix at a time when, unbeknownst to Anne, landowners were facing an unimaginable tax increase by the monarchy to pay for the war efforts.  Sidelined by painful gout, Anne (Olivia Colman, Murder on the Orient Express) effectively handed over her political affairs to her confidant Lady Sarah (Rachel Weisz, Oz the Great and Powerful) who has her own shady behind the scenes dealings.  Though she is loyal to her queen, Sarah has gotten comfortable in her role as de facto ruler, often making decisions and seemingly effecting rules based on her own interests rather than what would be the best option for the throne of England.

Arriving to disrupt this arrangement is Abigail (Emma Stone, Aloha), Sarah’s penniless and disgraced cousin.  Abigail has come to Anne’s estate to grovel at Sarah’s hem for a job but has schemes up her sleeve much like her cousin.  Quickly rising through the ranks and catching Anne’s attention, Abigail begins to pose a threat to the plum set-up Sarah has for herself.  So begins a catty fight between the two women for Anne’s affections…much to Anne’s increasing delight.  At the same time, Abigail is pursed by a rival member of Parliament (Nicholas Hoult, Warm Bodies) seeking her help in ousting Sarah from her hold on Anne and romances a baron (Joe Alwyn, Boy Erased) who can expedite her ascension back into respected society.

Though screenwriters Deborah Davis and Tony McNamara are relative unknowns, their script for The Favourite has been bouncing around in Lanthimos’s stable for nearly a decade while he waited to secure financing for the period picture.  I’m glad it took them so long to make the film because he’s assembled a remarkable gallery of players in front of the camera and behind the scenes that gives The Favourite a sumptuous sheen and elevates it from its more soap opera-y tendencies.  It’s a bawdy film with several eye popping twists and often hysterically funny with razor sharp exchanges between Abigail and Sarah – none of it would have worked unless everyone involved wasn’t totally committed to the material.

The trio of ladies that make up the leads are sublime.  Though Stone is likely the biggest star in the group and might have the strongest arc, she wound up on the lesser side of the scale for me only because it felt like she was actively trying too hard to shoehorn herself into the period setting.  Colman is a riot as Anne, showing equal parts the vulnerability of a queen balancing a painful affliction and long-standing sorrow for numerous children she’s lost with the nastiness of a monarch that knows exactly how far her power reaches and how to wield it.  The sweet balance between Stone and Colman is Weisz giving one of her all time best performances in a career that has had many great ones.  While Sarah seems at first to be going in one direction, Weisz peels back several layers to show a different lady underneath we maybe hadn’t considered…and who might still be bad but could be the lesser of two, possibly three, evils at the end of the day.

The costumes from Sandy Powell (The Wolf of Wall Street) are gorgeous, the production design by Fiona Crombie (Macbeth) is luxurious, and the cinematography courtesy of Robbie Ryan (Philomena) has all the elements of a period drama but with modern strokes that keep the eyes always interested.  All help to strike the right mood in a film Lanthimos has divided into multiple parts, like a best-selling page-turner you can’t put down.  Like Mary Queen of Scots, The Favourite isn’t quite the history lesson you think it’s going to be when you sit down but it’s an incredibly entertaining and (best of all) surprising film that’s easily one of the most accomplished films of the year.

 

Movie Review ~ Christopher Robin


The Facts
:

Synopsis: A working-class family man, Christopher Robin, encounters his childhood friend Winnie-the-Pooh, who helps him to rediscover the joys of life.

Stars: Ewan McGregor, Hayley Atwell, Bronte Carmichael, Mark Gatiss, Jim Cummings, Chris O’Dowd, Brad Garrett, Toby Jones, Nick Mohammed, Peter Capaldi, Sophie Okonedo

Director: Marc Forster

Rated: PG

Running Length: 104 minutes

Trailer Review: Here

TMMM Score: (4/10)

Review: A year ago, this Winnie-the-Pooh fan was excited to learn of two upcoming projects. One promised to go deeper into the life of the author A.A. Milne and the other from Walt Disney Studios would bring the famous bear and his friends to life in a live-action/CGI hybrid. Both films had serious potential considering the beloved material and high nostalgia factor. Well…fool me once (Goodbye Christopher Robin), shame on you. Fool me twice (Christopher Robin), shame on me.

Whereas 2017’s Goodbye Christopher Robin was a manipulative mess of a biography, Christopher Robin is a dreary miss that clings too tightly to its wistful moments. The movie is constructed to have you biting your lip and furtively wiping away tears at very specific points but it tries too hard to get you to go that sad place. Maybe I’ve turned into a monster in my old age but I resisted and outright resented the way the film went about its business.

Opening with young Christopher Robin attending a going-away party in the Hundred Acre Wood thrown by his animal friends, we learn he’s off to boarding school and will be leaving his friends far behind. Thus begins a rather long prologue where the lad becomes a man (Ewan McGregor, Beauty and the Beast) and eventually a war veteran. He’s now working for a luggage manufacturer with a wife (Hayley Atwell, Cinderella) and young daughter (Bronte Carmichael, Darkest Hour) he rarely spends time with. It’s a familiar sketch of a child that grows up and forgets what it’s like to conjure the kind of make believe fun that fueled a rich imagination. I mean, we all saw Hook, right?

With his family away for a weekend, Christopher is supposed to be working through the logistics of making cost-saving budget cuts at his job when he meets up with Winnie-the-Pooh. Pooh can’t find his friends but found his way through a magic door that connects the Hundred Acre Wood to the outside world. Christopher follows Pooh back through the door and begins a sentimental journey through his past that connects him back to the likes of Tigger, Piglet, and Eeyore.

Director Marc Forster has been hit or miss in my book for a while. I enjoyed World War Z, am slowly coming around to his James Bond entry Quantum of Solace, and last year’s All I See Is You was pretty underrated in my book. He’s had a diverse range of tones/genres which I respect but there’s this curious heaviness he adds to Christopher Robin that feels wrong. Even though it makes a last ditch effort to zing up the action in the last 20 minutes, the majority of the movie is too somber for young children and far too slow for older kids. Adults are advised to bring a pillow.

The marginal good news is the period film looks amazing and the characters (much closer in design to Milne’s vision) are brought to impressive life through CGI. Whatever crazy subliminal product messages Disney put in the film worked because I left wanting to get a set of the updated Pooh and co. for my very own. The action blends seamlessly with the live actors and McGregor gets a gold star for making me believe he’s interacting with a stuffed bear. The film doesn’t try to hide the fact these animals can talk, nicely avoiding at least one tired plot device hurdle of stories such as this.

With bits and pieces culled from better movies about growing up too soon (add Peter Pan and Mary Poppins to the list while you’re at it), Christopher Robin is a disappointing entry in Disney’s attempt at giving its characters a live-action treatment. The film scores high in production value and is often saved by its CGI creations but it’s too tangled in its gloomy plot and obvious attempts at wringing tears out of you to be more than a summer bummer misfire.