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Miss Peregrine's Home for Peculiar Children (2016)
Disappointing
Having seen the trailer, I had expected something delightful, fantastical and otherworldly. Sadly, the fantastic element is only a thin veneer over an otherwise mediocre, formulaic action movie. It's not terrible and it's entertaining enough to wile a way a rainy Sunday afternoon with the kids, but I wouldn't bother watching it a second time. Certainly didn't live up to my expectations.
Penelope (2006)
Nice family entertainment
This is a charming family movie with many strengths: good pacing, well- timed humour, strong acting performances, lovely whimsical sets. The coat with the many different buttons deserves a special mention. Penelope and Johnny are endearing, the mother suitably annoying and Edward makes you want to kick him.
Where it falls down is when the main premise doesn't convince. We are told that Penelope is horrifically ugly, but she isn't. She looks cute. Weird, yes, but not ugly and certainly not scary. Why would grown men run from her in terror? It would have been more credible (and made very little difference to the plot) if they had burst out laughing.
The Englishman Who Went Up a Hill But Came Down a Mountain (1995)
Never fails to charm me
I watched this last night for the third or fourth time, this time with my 12-year-old daughter, who enjoyed it too. It is a movie full of delight, from its whimsical title, its vibrant characters, its gorgeous sets and settings to the original and refreshing story. While the hardships and heartbreaks of the war are by no means denied and the effects on the village clearly shown, the story remains cheerful and uplifting, celebrating a vigorous and captivating sense of community. A true feel-good movie.
I would give this movie ten stars if they had cast someone else as Reginald Anson. Seeing Hugh Grant doing his eternal shtick of stammering embarrassment is grating; it detracts from the story by evoking his other roles and it is overall nowhere near as charming as the movie makers seem to think.
Pride and Prejudice (1995)
Oh, what fun!
I've watched this multiple times, and it remains delightful. Even my action-movie geek husband and my children loved it. The actors got so much comedy out of the characters and the story, and it was palpable that they had great fun in the production. It's lovely that they managed to get so much of Austen's original dialogue into the script and still have it feel appropriately flowing for a movie. I have a book about the making of the series, which backs up what the series itself shows at every level, namely that much care for details and much love for the book went into making it. The ensemble cast is great, and all the young actresses really excel. One doesn't have to swoon at the sight of Colin Firth in a wet shirt (I don't) to enjoy this production.
Jane Eyre (2006)
My Favourite Jane Eyre
I have watched this over and over and over and I am delighted every time. Yes, it makes some changes from the book, but in a way I find acceptable. Maybe toning down St John wasn't such a good idea, because he is not enough of a contrast to Rochester. Otherwise, I'm okay with the changes.
I loved the delicate beauty of this production, the sense of mystery, the electric interactions between the characters. Both lead actors convey a wonderful range of emotions. Other Jane Eyre adaptions seem clumsy, even ham-fisted in comparison. One of my favourite scenes is when Jane explores Mr Rochester's study in his absence and sees all his maps and books and collections. It is such a great way to introduce his character and to show why Jane would be fascinated by him before she even knows him.
This adaption also went down well with my high school students, for whom is was a useful example to study something that is Gothic-but-not-quite-Gothic.
Star Wars: Episode VII - The Force Awakens (2015)
Kind of okay isn't good enough
I do not believe that Star Wars is the pinnacle of human achievement, nor do I buy into the notion that the original trilogy contains great spiritual and philosophical depth. What the original trilogy does have is a unique charm, largely thanks to the good vibes between the characters and unabashed enjoyment of the weird and wonderful.
So, what to make of this latest Star Wars instalment? Sitting in the cinema, I was dazzled by the spectacle on the screen, and though I had feelings of unease at various points, there was never time to reflect on what caused them. After a few days to digest what I've seen, I've come to the conclusion that my unease was justified. The movie has a glossy surface, but scratch it a little and serious problems come to light.
On the other hand, I think those who call it the worst movie ever , exaggerate wildly and should perhaps be made to watch some really appalling movies in order to recalibrate their reference system. "The Force Awakens" is kind of okay. But being kind of okay is really not good enough in the context.
There were things I definitely liked about The Force Awakens. The new droid, the wreckage of imperial AT-ATs and star destroyers buried in the desert sand, the terrified people watching the approach of the death ray, the courtyard of flags at Maz Kanata's. Visually, it is pretty good. And it was lovely to see Han and Chewey, though it should seriously worry the makers if the best thing about their new movie is the guest appearance of the old characters.
So, what happens when we scratch the surface? The most blatant failing of the movie, as lots of people have pointed out, is that it is a shameless AND incoherent rehash of A New Hope. It is so much a rehash that it is not worth bothering to use the new names they've invented for things, New Order, resistance, Supreme Leader etc. The second is that, as with most current movies, the makers got carried away with the technical possibilities and forget about such negligible details as allowing the audience to relate to the characters and plot. A few other scratching exercises reveal further problems:
Rey: I like the idea of having a female main character. In the original trilogy, Leia is said to have force powers, but she never gets to explore them. Rey could follow in her path and take it further. The actress made a reasonable job of the role. However, the accusations of Mary-Sueism that have been levelled at the character are entirely justified. She would have been so much better if she had struggled a bit more instead of being instantly perfect at everything.
Finn: I also like the idea of a storm trooper revealing a human face and defecting from the empire. It would have been good if this defection had been better motivated, but the concept as such is appealing. Sadly, this character is spoiled for me because he is so overtly agenda-driven. They might as well have had big flashing arrows over his head with the caption: "LOOK!!!! HE IS BLACK!!!!" Why? This is Star Wars, with countless species from across the universe, so skin colour really isn't an issue. In fact, one of the main characters of the original trilogy is black, though you may have to stop and think who it is, because you probably didn't notice. I bet nobody ever thinks of Lando as "the black guy," because he is just Lando and he is intriguing and awesome and his skin colour is completely irrelevant and that's how it should be. Obviously there ought to be people of colour in the new film, but they should be there naturally and their presence should not be shoved into our faces like some great moral achievement. But Finn, sadly, has "I'm the black guy" stamped all over his character. It's a shame.
Poe: He is the one new character with the potential to revive the original trilogy's charm. He really had a wow factor. Alas, after the opening he disappears for most of the movie, and then reappears arbitrarily but doesn't play much of a role. What a waste. But then again, we should perhaps be glad we didn't get a chance to scratch at his surface.
Kylo Ren: He creeped me out and I thought it was a great moment when he took his helmet off and his face was so unexpected and striking. But then inevitably one has to ask why he wears a helmet at all, and as soon as his background is established, one has to ask what the deal with him is altogether. The prequels take pains to explain why Darth Vader turned to the dark side, and it is more or less convincing, but Kylo Ren's motivation seems to have been teenage spite. Becoming a Sith lord as the equivalent of slamming your door and sulking in your room? That's a little hard to buy.
Han: Harrison Ford wanted Han to be killed off so he could be rid of the role. Fair enough. But an amazing and beloved character like Han Solo deserved a much better send-off than what he was given here. He should have died in Leia's arms (or failing that in Chewey's) and after some relevant achievement, and possibly with a nonchalant comment on his lips. His death should have driven the more sentimental members of the audience, e.g. me, to tears. Instead we just have a moment of, Oh, whoops, Han is dead, what a shame; and he is chucked away like a piece of rubbish. It saddens me that that awkward embrace is the last interaction between Han and Leia that we'll ever see.
Plot holes galore. I'm looking forward to how the Big Bang Theory dudes will ridicule the concept of the star-draining super weapon.
Robin Hood (2006)
Bring back the eighties!
Okay, the 1980s Robin of Sherwood series and in particular Michael Praed's performance as Robin set an unattainable standard in comparison to which any new shot at the material is bound to fall short. But they may have at least tried a bit harder. Whose decision was it to portray Robin as a smug, vain, self-assured womaniser? Why do the costumes look like something recently ordered from a "Cool Urban Gang Wear" catalogue? Those guys are just returning from a crusade, aye right, they look more like they're on their way to a night out with the blokes. Why does the camera take such care to show us that the "seasoned fighter returning from the crusades" has delicate hands like a noble lady? Why is there a medieval woman with a perm and heavy modern make-up, who lives with a "father" barely ten years her senior? Why is there a guard on the watchtower who looks like a dwarf escaped from the LOTR franchise? And why is said watchtower designed in such a way as to impale the guard should he try to move? Why does Robin patronise his old friend in the village by constantly stating the obvious ("Jane. Your good, strong wife.")? Why is Gisborne wearing biker's attire? And why is he so surprised to find out Robin's identity if two minutes later he claims that he's seen him fight before? What's with the epic!music merely to show two characters riding up to a house for a friendly visit? I watched twenty-five minutes of this garbage and then I couldn't stand it anymore. What is this even supposed to be? An action comedy? Was it supposed to be funny? All the jokes fell flat. Was Gisborne supposed to seem menacing? He seemed constipated. Was Robin supposed to come across as a decent man who feels outrage at the wrongs done to his people? He came across as fake. Having a ridiculous and pointless side-kick didn't help. And the side-kick didn't get any more likable just because he greets a bit to the sound of swords clashing in the background, so that the audience will say, "Ah, PTSD!" Will I tolerate this? No. Twenty-five tedious minutes are enough.
Robin of Sherwood (1984)
The Only Ever Robin
It may be difficult for younger generations to imagine just how different the series was when it was first aired. It was really like nothing I had ever seen before. Other TV series seemed just to have the actors do their thing and then film it. Obviously I know that there's more to it, but in RoS almost every frame has an artistic quality; the colours, compositions and overall aesthetic effects are remarkable, even if the technical quality is less than stellar. Or perhaps it is exactly because the series lacks the high gloss of a Hollywood production that it is so eye-catching. This may also be the reason why the locations look so real. Many of the landscape images are so vivid that I feel I could step right into the scene and go for a walk - the arrival at Kirklee Abbey, for example. At the same time, the places also seem surreal, dreamlike and beyond this world, and I'm not just talking about the colour filters and dry ice mist.
Which brings me to Michael Praed. I don't know how I can praise his performance enough. His Robin is grounded and earthy and has an intense physical presence (well, let's be honest and call it swoon-inducing), yet at the same time he is ethereal and otherworldly to a degree that rivals Galadriel. I have seen him described as "fey" and that might be the most fitting word. He is so young and vulnerable and overwhelmed with the task allotted to him, and he is fierce and determined and, well, incredibly brave. In his early fighting scenes, he looks scared just as if, you know, he was doing this for the first time. When he encounters Marion in her bed chamber, his upper lip is glistening with sweat, because he has just been running for his life. Observe him in the duel with the Templar: he looks terrified. And then again he in turn can look terrifying: just think of the scene when he is bewitched by Lilith and tells Much to cut his bonds. Praed displays a wonderful variety and subtlety of facial expressions, and his rare smiles are utter enchantment. More than anything else, it is his warmth and affection for his friends that make him so irresistible. ***SPOILER*** No other fictional character's death has ever wrenched my heartstrings like Robin's. Praed is not a hard act to follow; he is an impossible act to follow. Sorry, Jason.
Judi Trott perfectly matches Praed in the sense that her Marion is simultaneously gritty and elfin. She is as beautiful as a Pre-Raphaelite Madonna and yet convincingly down-to-earth in her woodland outfit. She is feisty and can kick ass with the best of them but remains sensitive and gentle-hearted. The interactions between Marion and Robin are full of tenderness and I adore it that the love-at-first-sight thing is conveyed by having them talk from the first moment as if they've known each other for ages. They work flawlessly as a team. A great scene is when Marion visits Robin in the dungeons in The Words of Wayland and they combine caresses with an exchange of crucial information. I also love it that Marion is so at ease with the other Merries and thinks nothing of cuddling John or stroking Much's hair while he rests his head on her lap. She does this in a casual and entirely innocent way; she has thrown in her lot with a bunch of rough guys and has taken them to her heart like a sister.
All the Merries are great, each in their own way. Mark Ryan as Nasir was my teenage favourite, probably because he was taciturn and mysterious and of course, awesomely cool. Clive Mantle and Ray Winstone did an excellent job portraying strong men in their own right who follow Robin out of love and loyalty but are not afraid to confront him and argue with him when he is wrong. Peter Llewellyn Williams had perhaps the toughest part, playing a character that was routinely underrated. It would have been great to see him grow up more, but the script didn't seem to provide for that. Well, I still dig Nasir, but nowadays Friar Tuck is probably my favourite Merry after Robin and Marion. He has an adorable accent and some of the funniest lines, and Phil Rose's body language and facial expressions are priceless.
It is a rare thing in my experience to have villains who are absolutely loathsome but whom I nevertheless enjoy watching. Gisbourne and de Rainault are complete scum; cruel, selfish, callous, arrogant, black-hearted scoundrels beyond redemption. And yet they are highly entertaining and wonderfully funny in their weird co-dependent relationship full of frustrations on either side. Nickolas Grace succeeds in giving the Sheriff a certain degree of dignity, bat-crazy though he seems most of the time. And Robert Addie makes such good use of his impressive hurt-puppy look that in spite of all my loathing I did at times feel sorry for him. As a teen, I never picked up on the homoerotic vibes between them, obvious as they are; as an adult I find them a fascinating ingredient in the overall mix.
The traditional tales of Robin Hood offer material for sound action adventures which, quite frankly, wouldn't have interested me much as a teenage girl and even less so as a middle-aged woman. Whoever had the idea to include paganism and elements of fantasy was a genius. Blending these aspects with the medieval setting is what gave the series its unique charm.
So much more could be praised about the series. All the locations were wonderful, and I regret not seeing at least one episode set in the winter. The costume department deserves a medal.
Precisely once in my life did I go out and buy the sound track to a film or TV show. It was Clannad's Legend. 'nuff said.