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2019, Recent Reviews, Reviews

Yesterday (2019): Goofy Charm with Rushed Plotting

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Some people say that if they could time travel, they’d go back to buy stock in Amazon or Google. For a musician, the equivalent might be playing songs before they were ever written and in Yesterday a struggling singer gets that chance. Jack (Himesh Patel; EastEnders) is a singer-songwriter who has never been able to get a record deal or write a hit song. After a particularly bad show, he decides to quit forever and bikes home only to be hit by a bus home during a freak global blackout. When he comes to, he realizes that no one has heard of The Beatles and takes the opportunity to pass off their music as his own.

While Yesterday presents an alternate timeline, that isn’t its focus. The film touches on a few trickle down effects of a world without The Beatles, like certain other bands never existing, and gets several laughs out of Jack frantically googling things only to realize they don’t exist, but it makes best use of the premise with the world’s casual indifference towards music that we now consider legendary. As Jack tries to play “Let it Be” for his family, his father keeps disrupting him, the neighbor stops by, and his mom can’t quite remember the name. There are also several jokes about the stranger titles of Beatles songs and albums and how no modern market research would ever allow such poor branding. Despite all these touches, at its heart, Yesterday is a romantic comedy.

Ellie (Lily James; Mamma Mia! Here We Go Again) is Jack’s manager, roadie, biggest supporter, and clearly has unrequited feelings for him. Other characters point out their unusual relationship, but its importance never reaches Jack until he starts traveling. The arc of their relationship is nothing new, but it’s nevertheless enjoyable.

Ed Sheeran is hilarious as he pokes fun at himself.

The film was written by Richard Curtis (Notting Hill) and it shows in every detail. The characters have the same likable, goofy, slightly off-beat charm he is known for and there is plenty of humor. Jack’s roadie, Rocky (Joel Fry; 10,000 BC), might as well be the roommate from Notting Hill with all his social faux pas and well-meaning failures. The film’s biggest surprise is singer-songwriter Ed Sheeran. Sheeran who, playing himself, acts as Jack’s mentor and is hilarious in the self-satire as he gives Jack bad advice on how to succeed in the music industry. Curtis’s humor and charm are the film’s main draws.

While Curtis may have the greatest creative imprint, Danny Boyle (Trainspotting) is still the director. This is notably lighter fare than his usual work, but Boyle does an admirable job with the material. There are several oblique angles and a more kinetic energy to the camera movements. The story does however seem noticeably rushed. The major character changes from the second and third acts happen at a pace too quick to be believable and characters make decisions that are implausible in order for the story to reach its desired conclusion. It isn’t revolutionary and has some plot issues, but Yesterday has a unique premise and plenty of endearing characters and good-natured humor to make up for it.

3/5 stars.

2018, Recent Reviews, Reviews

Mamma Mia! Here We Go Again (2018): Amiable Charm

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Light, airy, and sweet, this is a sugar doughnut of a movie. Set five years after the events of the first film, Sophie (Amanda Seyfried; Mean Girls) is mourning the loss of her mother Donna (older version played by Meryl Streep) while planning the grand reopening of her hotel. Through conversations with her mother’s friends and Sophie’s three potential fathers (Colin Firth, Pierce Brosnan, and Stellan Skarsgard) – and the music of Swedish pop group ABBA – she reconnects to the memories of her mother’s younger self (played by Lily James; Baby Driver) and learns how she came to their beautiful island.

It might not have needed it, but the flashbacks to Donna’s youth add some depth to her situation from the first film and show off a talented younger cast. When the first film released ten years ago, there was some controversy surrounding the fact that Donna didn’t know which of the three men was Sophie’s biological father, but the new film contextualizes her relationships in a natural way without either condemning or apologizing for her actions. The younger versions of the fathers are each charming in their own distinct ways and are remarkably similar to the older versions both physically and in terms of their mannerisms. That being said, the film belongs to Lily James who radiates joie de vivre with her carefree smile. She also packs a strong singing voice and is able to do the timeless ABBA songs justice.

Behind the scenes, the creative talent has been significantly upgraded. The film is written and directed by Ol Parker (The Best Exotic Marigold Hotel) who embellishes the film with impressive in-camera transitions from past to present and some cute staging during the courtship scenes. The script was also written by Richard Curtis (Notting Hill) whose signature brand of romantic comedy comes through in several scenes. The younger version of Firth is written as the nervous, bumbling Englishman typically played by Hugh Grant and, familiar as it is, the trope still works. Throughout the film, Curtis’s dialogue and heartfelt touch are as enjoyable as ever.

The film is at its best when James has center stage.

That is not to say the film is without issues. The first half starts with big song numbers before the younger Donna’s character is established which prevents them from having much of an emotional impact. The dancing itself is disappointingly simple for a musical of this scale and consists mostly of characters giddily skipping with outstretched arms and the male cast simply cannot compare with their female counterparts. None of the leading males, either the old or the young versions, can sing or dance. Some opt to talk melodically rather than outright sing to bypass the problem, but it remains a glaring oversight to fill a musical with so many people that are not, in fact, musical.

Despite these qualms, the film is too good natured and happy to be concerned with its own flaws. Part-reunion, part-on-screen-party, the cast is clearly enjoying returning to the island and the story. There isn’t an ounce of cynicism to be found here. This is a world where the best choices are made by gut decisions and everyone ends up happily ever after. It gives fans of the original and musicals in general the songs and the spectacle, particularly one number taking place at sea, that they want to experience. Even for non-believers, Mamma Mia! Here We Go Again offers a celebratory tone and ebullient charm too amiable to offend.

3/5 stars.

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Best Movies for Valentine’s Day

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Well, it’s that time of year again, so here are some movies to watch with your significant other. Or by yourself. No shame in that. You can view this as “Best Valentine’s Day Movies” or more accurately “Best Romance Movies”, a genre that is too often overlooked because of the swaths of formulaic rom-coms you have to filter through to find the hidden gems. Fortunately, I’ve done that work for you.

In the Mood for Love

The overwhelming atmosphere of romantic melancholy of In the Mood for Love will envelop you to the point you never want to leave. While not a fast movie by any means or a film of action, it draws you in through the looks in the eyes of Tony Leung and Maggie Cheung. The restraint in the direction and acting make this film. Unlike other movies that rely on melodramatic professions of love in the rain to get a point across (guess what movie I’m talking about here), this movie uses a tension that suffuses every frame. The hues of red, the ornate textile patterns, and the sultry sound of Nat King Cole’s voice coalesce into something greater than any other romance I have ever seen. There is something in the air and the conflict between desire and duty, passion and propriety, are entrancing. Likely my favorite movie ever, romance or not.

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The Before Series (Before Sunrise, Before Sunset, and Before Midnight)

The Before series captures so many aspects of romance. The first movie, Before Sunrise, is about the initial spark of love. The infatuation that comes with connecting with someone on a level you didn’t think was possible. Before Sunset, picks up 9 years later with the characters reuniting. This movie still contains the connection of Sunrise, but adds in the regret that comes with age. What if things had worked out? Where would they be now? Do they still have a chance together after all these years? Finally, Before Midnight takes place another 9 years later. Unlike almost any other film franchise, the Before series has improved with each iteration. Each new movie retains the allure of the previous while adding new complexities and Before Midnight takes this to a new level. It is the funniest, best written chapter but also expands into new territory as it explores the difficulties of long term relationships. Your own personal ranking of the films may vary, but you’ll never regret spending time with Jesse and Celine. Here’s to another film 9 years after Before Midnight. I don’t know how they could improve on it, but that’s also what I said after Before Sunset.

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3-Iron

Director Kim Ki-Duk is well known for the extreme violence of his films. 3-Iron represents a departure from that trend. The story follows a young man who breaks into people’s houses while they are out of town that ends up rescuing an abused housewife. She becomes his partner in (mostly harmless) crime. The two move between empty houses each night, never taking anything and instead doing household repairs or chores in exchange for their uninvited stay. They never speak a word and their relationship slowly develops through the actions they take to look out for each other. The movie has an otherworldly, almost ghostly quality to it and indeed the latter half of the film shifts into the ethereal. If you follow the film to where Kim wants it to go, you will be rewarded with a haunting, understated romance.

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Eternal Sunshine of the Spotless Mind

Director Michel Gondry and screenwriter Charlie Kaufman were at the height of their careers with Eternal Sunshine of the Spotless Mind. The film is about a couple that decides to have their memory of each other erased after a messy end to their relationship. Gondry’s arts-and-crafts practical effects make the transitions between the real and surreal found in Kaufman’s writing seamless and allow the characters to explore their true desires. Eternal Sunshine succeeds based on its ability to convey the emptiness that can be left by someone. Erasing their memory may have removed the dissolution of their relationship but it couldn’t fill the hole left by each other’s absence. The film shows the lengths people will go to preserve their memories of love, even if they come with memories of heartbreak.

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Notting Hill

Yes, it’s a Hugh Grant film, but you know what? It’s the best Hugh Grant film. Grant is at his most likable here as the average guy owner of a used travel book shop who mistakenly bumps into and starts a relationship with a world famous actress (Julia Roberts). Is it a little cheesy? Yes, but the schmaltz is sincere and always endearing. The interactions between Grant and Roberts are sweet and the problems they face, despite the crazy scenario, are eminently relatable. Notting Hill is a statement that, no matter their station in life or related complications, all relationships are just a connection between two people, in this case, “just a boy” and “just a girl”.

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About Time

Also written by Richard Curtis and this time directed by him too, About Time features many of the standard Curtis tropes, but with a slight sci-fi twist. Domnhall Gleeson plays the Hugh Grant character, but is able to put his own goofy charm into the role. At the age of 21, Tim (Gleeson) learns that the male members of his family can travel in time. His initial actions are what you would expect of a man his age. He goes back in time again and again to undo the mistakes he makes as he dates Mary (Rachel McAdams). But soon About Time transforms into something more. It shifts its focus from romance to family. There is a reason the movie isn’t called About Love. Curtis expands his scope to examine the value of familial bonds, the consequences of actions, and the joys overlooked in everyday life. If you are a stickler for plot holes, you will hate this movie. About Time sets up and then proceeds to ignore every one of its rules about time travel, but it’s hard to fault Curtis for this decision. He understands that sci-fi was never really about aliens or space ships, it was about using a premise to explore emotions not encountered in regular life. If you can look past the plot holes and instead look to the emotions experienced by the characters, you’ll find a deep, surprisingly life-affirming adventure.

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Chungking Express

Chungking Express, also by In the Mood for Love director Wong Kar-Wai, approaches love from a different perspective. Composed of 2 stories of Hong Kong cops coming off of breakups, the film is looser and more improvisational. Unlike the characters of In the Mood for Love, these people are in their early twenties and the film’s style reflects their point in life. Their future is uncertain, but hopeful. Wong’s signature longing is still present here, but more optimistic and sprinkled with affectionate humor. The characters may not know what is in store for them, but they’ll keep trying for love regardless.

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Obvious Child

Jenny Slate (Saturday Night Live) plays Donna, a twentysomething comedian who doesn’t remotely have her life together. When a one-night stand has unexpected consequences, she is forced to reevaluate her life choices and forms an unlikely relationship. Slate’s honest, self-deprecating humor makes her character incredibly endearing, even when she makes bad decisions, and her gradual progression to responsibility is heartwarming. Jake Lacy (Miss Sloane) as the romantic interest is sweet and kind with the subtle nudging needed to move her in the right direction. The film deals with serious subject matter but balances it with sarcastic comedy and the gentle warmth of a growing romance.

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Brooklyn

The newest entry on this list, Brooklyn, is a period romance about finding a sense of belonging through a relationship. Eilis (Saoirse Ronan), an Irish immigrant, moves to the US only to find herself horribly homesick until she meets Tony (Emory Cohen), a young Italian-American. The two have instant chemistry and their magnetic performances make you root for the characters as their relationship faces struggles. John Crowley directs his actors to gentle, intimate interactions. In particular, Eilis’s articulate educated speech contrasts with Tony’s stumbling dialogue for adorably awkward moments. Their soft-spoken demeanor combined with the polite manners of the time make for an incredibly charming courtship.

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