Paddington (2014)


NEW RELEASE FILM REVIEW
Seen at Cineworld O2 Greenwich, London, Sunday 7 December 2014


© StudioCanal

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

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Blue Jasmine (2013)

I should like to apologise that my output for the next few weeks is likely to be erratic, as I have family in town and have fewer opportunities for film-watching. I shall be attempting to keep my Godard director focus going, though it may be rather sporadic, even though I’m down to the last few films…


NEW RELEASE FILM REVIEW || Director/Writer Woody Allen | Cinematographer Javier Aguirresarobe | Starring Cate Blanchett, Sally Hawkins, Alec Baldwin, Bobby Cannavale, Andrew Dice Clay | Length 98 minutes | Seen at Cineworld West India Quay, London, Wednesday 2 October 2013 || My Rating 2 stars worth seeing


© Sony Pictures Classics

The narrative that tells of a revered filmmaker’s ‘long-awaited return to form’ is a familiar one with plenty of history in film reviewing — it crops up from time to time with respect to Jean-Luc Godard, whose work I’ve been focusing on over the last month — but nowhere is it more commonly heard than with whatever the latest Woody Allen flick is. He churns them out at such a rate even now he’s in his 70s, that inevitably there’s one every few years that is heralded as a return. The critical consensus, it appears, is that Blue Jasmine is one such, seeing Woody return to the States, albeit to the West coast city of San Francisco. I, however, remain solidly unconvinced, though I concede it is a well-made film at least.

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