Having just written about Miss You Already, another recent directed-by-a-woman comedy/drama, and criticising its somewhat patchy use of musical cues, along comes this fluffily inoffensive new Nancy Meyers comedy and oh boy, what was I even talking about yesterday? To be fair, like Anne Hathaway’s little indie romance Song One, if I’d seen this film on a plane or on TV when I was feeling ill, then I’d undoubtedly be giving it an easier ride. It’s perfect for those occasions. But in a cinema with a crowd of other chattering (perhaps somewhat cynical) attendees, it has its difficult stretches, and most of those for me revolve around the treacly orchestral score that kicks in whenever something meaningful or emotional is happening, generally in the last third. However, if you can get past that, the precociously annoying kid and the rather overextended later stretch that deals with romantic infidelity, there’s still enough to make it passably entertaining. There are some good jokes as the film is setting up its premise, that 70-year-old Ben (Robert De Niro) has applied for a ‘senior intern’ position within Jules (Hathaway)’s internet fashion company, and has to fit in with clued-up tech-savvy youngsters. A lot of that revolves around familiar age-vs-experience clashes, but Ben is also called on to show his sensitive side quite a lot, so your tolerance for De Niro’s mugging for the camera will be tested — though luckily he’s largely pretty good at it, and inoffensive, which is this movie’s watchword. But I love Anne Hathaway, and am always happy to watch her; she has an easy on-screen charisma. So despite all that manipulative music, despite her “adorable” daughter and the fact that everyone seems to live in homes that look like boutique hotel fashion plates, despite the fact that the company (for all its financial success) never in the end actually seems to pay any of their interns a salary — perhaps a sly commentary on the modern workplace — I still didn’t leave hating this movie. Your mileage may vary.
Director/Writer Nancy Meyers; Cinematographer Stephen Goldblatt; Starring Anne Hathaway, Robert De Niro; Length 121 minutes.
Seen at Cineworld Wood Green, London, Monday 28 September 2015.
There’s no doubt in my mind that where and how you watch a film can materially affect one’s appreciation of it, whether at the cinema or at home, with a large or small audience, a receptive or a hostile audience, in a community centre, a church or in a foreign country: all kinds of factors can weigh in. For me, a good film to watch on an inflight entertainment system can be markedly different from what I’d choose on land. I’ve enjoyed some pretty questionable movies when miles up in the sky, quite often fluffy romcoms. And while it may not fall into that generic category, I’m not convinced that seeing Song One on terra firma would improve my estimation of it. It shares elements with the altogether glossier and bigger budget Begin Again, overlaid with an illness framework — in this case, that anthropologist Franny’s (Anne Hathaway’s) brother has been hit by a car and is in intensive care. She comes from Morocco to be by his bedside with their mother Karen (Mary Steenburgen), and from there falls into the company of his favourite musician James (Johnny Flynn), who plays the same kind of folky indie rock that Begin Again dabbled in. Sadly Johnny Flynn is no Mark Ruffalo, nor even Adam Levine, and doesn’t exactly radiate screen charisma, though I daresay that’s the point. Hathaway is always watchable, and there’s an admirable improvised feel to the scenes — certainly, it seems there are a lot of children of Joe Swanberg around in the US independent cinema at the moment. Franny’s quest to use her ethnographical skills to record the world in all its sensory nature and bring it to her brother’s bedside has some of the same obsessiveness that Ruffalo’s character deployed as a producer in Begin Again, and at times threatens to tip into unbearably twee (there are gramophones and vintage keyboards!), yet somehow it’s grounded by Steenburgen’s performance as a liberal, free-spirited mother with a penchant for Paris in the 70s. I could talk myself out of liking it pretty easily, but somehow it worked for me. At least, when I was in the air above Europe desperately looking forward to returning to the comfort of home. The poster says “a moment can change everything”, but a venue can change a film.
Director/Writer Kate Barker-Froyland; Cinematographer John Guleserian; Starring Anne Hathaway, Johnny Flynn, Mary Steenburgen; Length 86 minutes.
Seen on a plane from Istanbul to London, Wednesday 9 September 2015.
Unlike in 2013, I haven’t been writing reviews of every film I’ve seen this year. I also had trouble finding enough enthusiasm to write about some of the big tentpole blockbusters of the year, mainly because so many others have cast in their two cents, that mine seem entirely beside the point. Still, you’re more likely to have seen these films, so I thought I should at least write a few sentences to give my opinions, and you can disagree with me in the comments if you wish! (For what it’s worth, I’ve also taken to adding my ratings for unreviewed films on my film reviews by year page.)
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