NEW RELEASE FILM REVIEW Seen at Cineworld O2 Greenwich, London, Sunday 7 December 2014
Ever since a friend described this film to me as like Notting Hill or Love Actually but for kids, I’ve not been able to shake that link from my mind. Because, yes, this film is very West London in that slightly twee picturesque way so beloved of Richard Curtis and his ilk, in that people live in brightly coloured, neatly-turned-down terraced houses on rather grand streets with gorgeous big, bright rooms that no one in London can possibly afford anymore. (I suppose, for American viewers, it’s the equivalent of your struggling working folk sharing a massive loft apartment in Greenwich Village, or wherever.) The story also, for rather more obvious reasons — in that it’s aimed at families, and that it’s a comedy, after all — embraces the sentimental and wholesome in the end, as teddy-bear-out-of-water Paddington looks for a stable home life with the Brown family (with Hugh Bonneville and Sally Hawkins as the parents). That said it does manage to shoehorn in a fair amount of furry-bear-related peril along the way, both in its opening sequences set in “darkest Peru” (as it is unswervingly referred to throughout the film) and in its later London-based caper sequences, as Paddington must fend off the advances of evil scientist/taxidermist (played with excellently gleeful maleficence by Nicole Kidman). It also makes some trenchant comments in favour of immigration, which in our modern political environment is certainly bold and should be welcomed. For all that, the initial comparison remains — and it would be damning except for the fact that, actually, I like Richard Curtis comedies (yes, even Love Actually), and once you’ve set aside the scrubbed-up locations, it’s rather sweet. It also has plenty of really rather funny comic asides (as well as stuff that will surely go over the kids’ heads); I’m still laughing about Mr Brown’s comment to the cabbie after the tourist-landmark-checking but geographically-ridiculous taxi journey that kicks off Paddington’s time in London. How it will play to children, I have no idea (there’s peril, and evil scientists, but never for too long), so don’t come to me for that. I am a fully-grown person, and I enjoyed this film.
CREDITS || Director Paul King | Writers Paul King and Hamish McColl (based on the character by Michael Bond) | Cinematographer Erik Wilson | Starring Hugh Bonneville, Sally Hawkins, Ben Whishaw, Julie Walters, Nicole Kidman | Length 95 minutes
I must concede at this point that though I still go to as many films, I cannot necessarily work up the enthusiasm to post full reviews of all of them. Some may be good and others may be disappointing, but for whatever reason there’s nothing that grabs me and makes me want to write them up at length. Therefore I present below some short reviews of some recent releases.
Under the Skin  || Director Jonathan Glazer | Writers Walter Campbell and Jonathan Glazer (based on the novel by Michael Faber) | Cinematographer Daniel Landin | Starring Scarlett Johansson | Length 107 minutes | Seen at Cineworld Haymarket, London, Wednesday 19 March 2014 || My Rating very good
I relish how strange watching this film must be to mainstream cineplex cinemagoers, because it’s the kind of strange and uncompromising object you usually only get at festivals. It’s had a decent release (at least over here in the UK) on the strength of its marquee name star and the interesting work of its director Jonathan Glazer — some notable music videos and two feature films, including Sexy Beast (which coasted in on the crest of the trend for geezerish British gangster films, but managed to stand out from that fairly bland crowd by virtue of its excellent performances). And yet it’s got such an odd sensibility. For a start, Scarlett Johansson is the only really recognisable presence in the film; the rest of the cast is made up of local extras and a few small, fleeting roles. Its style, too, is laconic — not just in the paucity of dialogue, but in its reluctance to reveal much of anything. It’s not a flashy film, and it can seem quite slow at times, but it at least seems very clear about what it’s doing. Stylistically, it starts strikingly with a series of close-up images that are hard to make out, but suggest something smooth and machine-like and, as it turns out, otherworldly. Once the first humans appear, images and faces loom out of the Stygian darkness, and there’s a bleak, dreich Scottish overcast to everything: this is not a film that makes Scotland look like a tourist destination, but the film finds a certain groundedness in the elemental forces of nature. Partly that’s a balance to its protagonist’s apparently alien origins, and the harvesting of human victims (for this is at heart a horror story) is presented as oddly theatrical, Johansson luring them by undressing into a black room, where they sink into an oily murk. The drama comes as she starts to have reservations about her mission, though nothing is so overtly stated in the laconic script. As I said at the outset, it’s quite unlike very much else out there, and if for that reason alone, is worth watching, although it exerts an oneiric, uncanny hold over the viewer at times.