And so to La La Land.
I'll admit it's not exactly a bind to watch Ryan Gosling (I'd pay to see him peel potatoes) and I am a huge fan of Emma Stone (although I prefer in her brittle mode (the only good thing in Birdman) rather than preppy girl-next-door goofball that she seems to have cornered the market on) so seeing this was a no-brainer. Plus, Whiplash was incredible, so I had high hopes that Damien Chazelle would not disappoint.
And all in all, he didn't. La La Land is a visually stunning homage to the golden era of Hollywood's musicals and all kudos to the cinematographer and DOP for creating such a rich tapestry of colour to brighten up our bleak old January days. Whilst I applaud the leads for their enthusiastic dancing and down to earth vocal abilities, I found the sudden switch from rom-com into musical numbers somewhat jarring. A clever idea to update what was considered a defunct genre, by simply dropping musical numbers into an otherwise untheatrical film - but I'm not sure it quite works. Perhaps because the musical numbers are largely forgettable (Chitty Chitty Bang Bang's sing-a-long this aint) and don't really enhance the story - or maybe I'm just not as big a fan of musicals that I assumed I was... (I've seen Oliver! a million times, does that count?)
Yes it is charming, sweet and at times magical - the LA skyline at twilight a perfect backdrop to a blossoming romance. Stone's cartoonish features popping out, as bright as any dress she wears while she falls for the charms of Gosling - looking bemused in a way that only Gosling can, is delicious to watch. Then comes the ending and a flashback that left me feeling a tad confused. Whilst the theatre emptied, I spent ten minutes with my buddies debating what we had just seen - who got their dream/'had it all' and who messed up? Who was to blame? What is the message of the film and how should we be feeling as we stumble out into the light? I'm still not sure I know the answers...
In short - it didn't move me. The only scene that made me feel at all emotional, was when Emma Stone questioned 'am I good enough?' There isn't a creative person who hasn't been there. I wanted desperately to love it, to rave about it as much Whiplash - but I'm afraid I can't. To quote Len Goodman on Strictly I'd give it a SEV-EN out of ten.
Another film I was champing at the bit to see, was writer/director Kenneth Lonergan's Manchester by the Sea - having adored an earlier film of his - You Can Count on Me. Thankfully my husband agreed to spend his 40th birthday watching it (hell he was depressed anyway) so we grabbed some G and Ts and hunkered down at our old haunt at the Curzon Soho (as an aside £15 for a cinema ticket is scandalous. I mean really??). Two hours plus later and waggled my sweaty fist at the screen, enraged that Casey Affleck's wonderfully natural performance of a man haunted by grief had gone from A to well... A. Where was the characterisation arc? Now I do understand that there are certain tragedies of life that no-one gets over - EVER, and perhaps this film is telling us that - but, in order for us to empathise with and champion a character, we need them in some way - no matter how small - to move forward over the course of 2 hours on screen or we feel somewhat cheated.
And Michelle Williams - a brilliant actress since her days in Dawson's Creek - is at her all time worst. There is a renowned scene where the two ex's meet - it should be utterly destroying to watch, knowing what they have endured - and yet all I could think was 'this needs more rehearsal - I don't believe her...' Meanwhile, I got so bored of the endless shots of fishing boats and bizarre soundtrack that accompanied almost every other scene that I went to get another drink...
Longergan is a master at creating believable relationships between a kid and an unstable adult - this was the crux of You Can Count On Me - and whilst the awkward relationship between Affleck's character Lee and his nephew (played to perfection by Lucas Hedges) is beautifully characterised, it stays one note for 2 hours. Structurally we find out around half way through the film why Lee is so cut off from everyone and everything - and in knowing the secret behind 'The Lee Chandler' we have no more blanks to fill in. So we watch, hoping against hope that this broken man will find some light in his dark days, redemption perhaps in the guardianship of his nephew... Then the credits roll. Affleck will, perhaps deservedly, take home the Oscar for this come March, but I'm left wondering what he would have brought to a part that required him to be more than just dead behind the eyes for the film's duration?
Next up Moonlight - am hoping it will blow me away. Something's got to....
I'll admit it's not exactly a bind to watch Ryan Gosling (I'd pay to see him peel potatoes) and I am a huge fan of Emma Stone (although I prefer in her brittle mode (the only good thing in Birdman) rather than preppy girl-next-door goofball that she seems to have cornered the market on) so seeing this was a no-brainer. Plus, Whiplash was incredible, so I had high hopes that Damien Chazelle would not disappoint.
And all in all, he didn't. La La Land is a visually stunning homage to the golden era of Hollywood's musicals and all kudos to the cinematographer and DOP for creating such a rich tapestry of colour to brighten up our bleak old January days. Whilst I applaud the leads for their enthusiastic dancing and down to earth vocal abilities, I found the sudden switch from rom-com into musical numbers somewhat jarring. A clever idea to update what was considered a defunct genre, by simply dropping musical numbers into an otherwise untheatrical film - but I'm not sure it quite works. Perhaps because the musical numbers are largely forgettable (Chitty Chitty Bang Bang's sing-a-long this aint) and don't really enhance the story - or maybe I'm just not as big a fan of musicals that I assumed I was... (I've seen Oliver! a million times, does that count?)
Yes it is charming, sweet and at times magical - the LA skyline at twilight a perfect backdrop to a blossoming romance. Stone's cartoonish features popping out, as bright as any dress she wears while she falls for the charms of Gosling - looking bemused in a way that only Gosling can, is delicious to watch. Then comes the ending and a flashback that left me feeling a tad confused. Whilst the theatre emptied, I spent ten minutes with my buddies debating what we had just seen - who got their dream/'had it all' and who messed up? Who was to blame? What is the message of the film and how should we be feeling as we stumble out into the light? I'm still not sure I know the answers...
In short - it didn't move me. The only scene that made me feel at all emotional, was when Emma Stone questioned 'am I good enough?' There isn't a creative person who hasn't been there. I wanted desperately to love it, to rave about it as much Whiplash - but I'm afraid I can't. To quote Len Goodman on Strictly I'd give it a SEV-EN out of ten.
Another film I was champing at the bit to see, was writer/director Kenneth Lonergan's Manchester by the Sea - having adored an earlier film of his - You Can Count on Me. Thankfully my husband agreed to spend his 40th birthday watching it (hell he was depressed anyway) so we grabbed some G and Ts and hunkered down at our old haunt at the Curzon Soho (as an aside £15 for a cinema ticket is scandalous. I mean really??). Two hours plus later and waggled my sweaty fist at the screen, enraged that Casey Affleck's wonderfully natural performance of a man haunted by grief had gone from A to well... A. Where was the characterisation arc? Now I do understand that there are certain tragedies of life that no-one gets over - EVER, and perhaps this film is telling us that - but, in order for us to empathise with and champion a character, we need them in some way - no matter how small - to move forward over the course of 2 hours on screen or we feel somewhat cheated.
And Michelle Williams - a brilliant actress since her days in Dawson's Creek - is at her all time worst. There is a renowned scene where the two ex's meet - it should be utterly destroying to watch, knowing what they have endured - and yet all I could think was 'this needs more rehearsal - I don't believe her...' Meanwhile, I got so bored of the endless shots of fishing boats and bizarre soundtrack that accompanied almost every other scene that I went to get another drink...
Longergan is a master at creating believable relationships between a kid and an unstable adult - this was the crux of You Can Count On Me - and whilst the awkward relationship between Affleck's character Lee and his nephew (played to perfection by Lucas Hedges) is beautifully characterised, it stays one note for 2 hours. Structurally we find out around half way through the film why Lee is so cut off from everyone and everything - and in knowing the secret behind 'The Lee Chandler' we have no more blanks to fill in. So we watch, hoping against hope that this broken man will find some light in his dark days, redemption perhaps in the guardianship of his nephew... Then the credits roll. Affleck will, perhaps deservedly, take home the Oscar for this come March, but I'm left wondering what he would have brought to a part that required him to be more than just dead behind the eyes for the film's duration?
Next up Moonlight - am hoping it will blow me away. Something's got to....
2 comments:
Looks like it's not yet out in the UK, but I just saw Hidden Figures and highly recommend it.
Yes! Heard it is amazing! Can't wait to see x
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