A Simple Favor (aka A Simple Favour, 2018)

Moving forward to a film from the past year, today’s film doesn’t really feel particularly serious (I’m probably stretching the definition of ‘drama’ in this case), but it’s certainly not just a straight comedy, for all that the appearance of Anna Kendrick sort of primes you for that. It attempts to find its place amongst a very shifting emotional and melodramatic tone that encompasses various generic formats, that can seem to swing wildly but I think is anchored by the comedic elements that recur throughout.


I feel like this movie has been misrepresented, as much by its own marketing perhaps as by critics. I’ve been told over and over that it’s tonally all over the place, but I don’t agree with that: yes, it’s a film with plenty of twists, but I think it admirably sustains its tone through all of the many shifts its narrative takes. It feels to me like what a successful blend of action, comedy and crime drama should be — in other words, what The Spy Who Dumped Me recently failed fully to achieve. Through all the psychological drama, the mystery and thrills, it maintains an underlying comic tone (there are even laughs at a funeral scene), and it sets up it its carefully poised blend of comedy and creepiness right from the start. Anna Kendrick’s acting chops have been well discussed (and I mostly love her), but Blake Lively is the underrated artist here, compulsively watchable as the bad girl, a fashionable icon with a taste for the outré. Then there’s the narrative itself, which manages to have elements of Personal Shopper (ghostly presences, taking on identities, elements of class-based envy) but reworked into a hyperactive mystery structure which maybe gets a little overcooked towards the end — at which point it is largely sustained by Lively and Kendrick. Still, the soundtrack is packed with French pop songs and it’s great fun.

A Simple Favour film posterCREDITS
Director Paul Feig; Writer Jessica Sharzer (based on the novel by Darcey Bell); Cinematographer John Schwartzman; Starring Anna Kendrick, Blake Lively, Henry Golding; Length 117 minutes.
Seen at Curzon Victoria, London, Wednesday 26 September 2018 (and again on Netflix streaming at home, London, Monday 19 August 2019).

Three Recent Asian-American Romcoms: To All the Boys I’ve Loved Before (2018), Crazy Rich Asians (2018) and Always Be My Maybe (2019)

Of all the recent success stories in Asian-American cinema, focusing on Asian diaspora characters (usually Chinese-American, but there are people of Singaporean, Korean, Malaysian, Hong Kong and Vietnamese extraction, amongst others, mixed in here), none has been more notable than the romantic comedy. Of course there are cinematic precedents, like Alice Wu’s touching and likeable Saving Face (2004). However, following Kumail Nanjiani’s well-received The Big Sick the year before, last year’s high-profile cinematic success of Crazy Rich Asians has been matched on the small-screen by the Netflix films To All the Boys I’ve Loved Before and this year’s Always Be My Maybe. I expect we’ll be seeing plenty more, and that can only be a good thing.

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