Last week I saw the reboot/revival of the cultural icon and successful musical now coming to the West End: Mean Girls. Many people online did not seem aware that the film was a musical in spite of the existence of the musical, the casting of Reneé Rapp (who starred as Regina George in the Broadway version) and the trailer.
The 2004 film starring the best of 2000s Hollywood – Lindsay Lohan, Rachel McAdams, Amanda Seyfried, Tina Fey, Lizzy Caplan, Amy Poehler and Lacey Chabert (more of a 90s icon) – has generated endless chatter, memes, Halloween outfits, recreations and TikToks. This new version has updated some of the politically incorrect or offensive language – i.e Regina is now a fugly cow and Cady is not approached about muffins in the cafeteria.
The Broadway version adapted by Tina Fey only had a short life on stage due to the Covid 19 pandemic so its great to see it immortalised on the screen with its original star Reneé Rapp. Since her turn as Regina, Reneé has gone on to star in the popular HBO series, The Sex Lives of College Girls and released music – Tummy Hurts, Snow Angels and become a bi icon.
Mean Girls (2024)
The film starts with an upbeat opening number by Janis (Auli’i Cravalho) and Damien (Jacquel Spivey) the ones who guide Cady through North Shore High School and its teenage population. It only seems right that they guide the audience through the film. Some updates to their characters include changing their ethnicity and giving them more up to date interests. For example, Janis wears more popular but still hippy clothes, loves blue eye-shadow and her art involves string and sewing.
Cady (Angourie Rice) moves from Kenya with her mother (Jenna Fischer) to the Chicago area in the US and goes from a quiet home-schooled life to figuring out the cliques and social norms of the American high school. The character of Cady’s father has been erased along with the story of her first crush at four years old. What has stayed is Cady’s iconic blue checked shirt that she wears on the first day.
When Cady meets the Plastics they look more high school age than in the original and have a more up to date style. Regina (Reneé Rapp) is wearing a full black leather number with Gretchen (Bebé Woods) and Karen (Avantika) wearing preppy/colourful outfits.
After Cady learns her new calculus class crush, Aaron Samuels (Christoper Briney) is Regina’s ex-boyfriend and therefore strictly off-limits, she agrees to help Janis and Damien bring Regina down a peg or two.
Karen’s solo song ‘Sexy’ tells the audience the boundaries of Halloween costumes and that as long as your outfit is sexy than anything goes. Cady unfortunately does not get this memo and turns up as a Vampire Bride. Seeing Aaron with Cady alerts Regina to the potential threat that Cady poses she and quickly marks her territory by kissing Aaron.
Much like in the original film, Janis, Damien and Cady devise a plan to take away everything from Regina: her perfect skin, hot body, loyal sidekicks and reignited relationship with Aaron.
While Cady only hangs out with Janis and Damien in secret she is gradually turning more Plastic including writing about her teacher, Mrs Norbury (Tina Fey) in the Burn Book and pretending to be dumb so Aaron will tutor her.
Much of the film follows the original including the entire junior class gathering in the gym for a female bonding experience, Cady’s enrolment in the Mathletes and the famous Spring Fling scene with the tiara.
I think that this revival of the film based on the musical is a fresh take on the iconic tale keeping in many of the iconic lines – ‘That’s so fetch’; ‘It’s October 3rd’; ‘the limit does not exist’; ‘You can’t sit with us’ and ‘On Wednesdays we wear pink’. There were some important updates to incorporate the changes in culture and what is acceptable to say especially among teenagers.
I think that the original songs gave a great insight into the character’s thoughts especially Regina and Janis. Making Janis and Damien the narrator characters who introduce the show was clever as they are the ones that introduce Cady and the audience to the cliques in the canteen and the Plastics.
My favourite song from the soundtrack is Apex Predator as it has a good beat and really shows the power and influence that Regina has over the student population.
I’m glad that the musical made it to the big screens as it was cut short on Broadway due to pandemic and it is now coming to the West End.
The cast was well chosen and they all brought new aspects to the roles. I like that Reneé Rapp was not the skinniest girl so showing that all body types can be considered desirable. Rather than focusing on their appearances, it appeared that the Plastics popularity comes from power and knowing things about everyone as demonstrated with the Burn Book.
Overall, I thought the film was fun and for everyone that grew up with the original 2004 version, it was a blast to the past. Definitely worth a watch if you enjoy musicals or the original. I give it 5/5.
You may be wondering about the words in the title and that is because they are from the plethora of words that author Roald Dahl invented and used in his books, one of which was the original tale for Wonka. In Charlie and the Chocolate Factory we see the grown-up Willy Wonka with his factory and army of Oompa-Loompas entertain an unsuspecting group of children.
But, did you ever wonder how Wonka became the splendiferous inventor that Charlie and his Grandpa Joe encounter? This new film from the producers of Paddington and Harry Potter featuring an amazing cast can show you.
Wonka (2023)
The thing about doing another reboot/sequel or something based on known characters is that it has to be original and interesting. The small childhood flashback we see of Willy Wonka in the 2005 film which depicts him as a sad child stuck in a head brace with a chocolate-hating dentist for a father is not much of a back story.
This film has flipped that narrative on its head and provided Willy with a loving mother who taught him the chocolate basics and let him lick the spoon. At the beginning of the story he sets foot back in an unspecified European town after 7 years aboard finding weird and wonderful new ingredients for his chocolate.
His dream of opening a shop at the Galeries Gourmet is quickly met with uproar from the other three chocolatiers who hatch a plan to bring him down with the help of the Chief of Police and Mrs Scrubitt, the laundrette owner.
Things start off well with Willy showing the public his chocolates that can make you float but when he gets stuck paying his debts at the laundrette along with Noodle and other unfortunate souls, he hatches a plan to free them and take down the chocolate mafia.
At the heart of this film is a story about Willy Wonka missing his mother and seeing that same longing in Noodle who does not know her parents. He wants to make her proud and believes that she will return to him when he has achieved success.
Timothée Chalamet made a great Wonka, basing his performance on that of Gene Wilder in the 1971 adaptation, dressing in his iconic purple coat and hat. He demonstrated Wonka’s classic wacky humour but a little more subdued than it is when he meets Charlie Bucket. I was pleasantly surprised by the singing and dancing in the film but I thought that Timothée brought a great musicality to the role. He commanded the screen and had great chemistry with his on-screen pals.
The supporting cast features a range of British and American heavyweights with newcomer Calah Lane as Noodle alongside names such as Olivia Colman, Hugh Grant, Rowan Atkinson, Paterson Joseph, Jim Carter, Keegan-Michael Key and Matt Lucas.
Fans of Ghosts and Horrible Histories will be able to spot some favourites in there as well as Paddington alumni Tom Davis and Sally Hawkins. There was a large ensemble cast with a few cameos but I felt that everyone had their moment and no one was overlooked in their storyline. Even a character with a few lines got a happy ending on screen.
Of course, no film based around Willy Wonka would be complete without his marvellous inventions. We see his Mary Poppinsesque hat and never-ending suitcase with a delightful range of ingredients including giraffe milk and Oompa-Loompa cocoa beans for which Wonka is pursued. He creates a number of fun treats in the film including a chocolate that allows you to see a silver lining, edible shopping bags and candyfloss clouds.
I think this was a lovely, creative prequel to Willy Wonka with a cosy British feeling similar to Paddington and Matilda (another recent Roald Dahl musical) and I will happily be watching again when it comes to streaming.
This week’s post is brought to you by guest writer, Terry who you may remember earlier in the year from her review on Are You There God? It’s Me Margaret.
Her chosen film is from a couple of years ago and can be found on Amazon Prime. I have not seen the film myself but after her review and passionate breakdown, I have added it to my list and a modern fairy tale is always a great watch this time of year.
Cinderella (2021)
If the star-studded poster above doesn’t narrow down which version of the legendary chronicle this review will focus on, it is the jukebox musical rom-com adaption written and directed by the one and only Kay Cannon (of Pitch Perfect, New Girl,Girlboss etc. fame!). Before we begin…
Truthfully, it took me time to finally give this Cinderella a chance. Unfortunately, I was put off watching after hearing various negative opinions. However, as many people (including good friend/film fanatic Robyn) rightly say, ‘you have to watch and see for yourself’. Now that I have, my only regret is… Not watching sooner! Everyone’s entitled to their own opinion of course, but I feel most of the negative remarks I heard came from people who weren’t the target audience i.e., non-musical lovers, or those who believe there’s been enough revamped fairy-tale adaptations. While there’s something to be said about the latter, it’s hard to argue against wanting to recapture the magic of certain stories. Especially if they have something new to say.
Camila Cabello, Billy Porter and Idina Menzel promoting Cinderella with James Corden for a feature on his talk show, Crosswalk Musical
Thanks to social media I had actually seen a lot of Cinderella’s promotional material, by the time I eventually watched, I thought I’d already seen the film’s most imperative parts. Something I found especially frustrating as I hate when previews incorporate spoilers, something that too many do now as a form of enticement. To that end I assumed I knew what to expect, especially since I’m familiar with the fairy-tale. How wrong I was! This version of Cinderella is still an orphan with mice friends in the unenviable position of being forced to be a maid by a stepfamily who treat her with contempt (when they aren’t ignoring her). Nevertheless, despite being another retelling of an already quite frequently adapted, centuries old fable – and having the daunting task of trying to stand apart from extensively popular Disney versions – Cannon’s Cinderella managed to surprise me being unapologetically unique in a myriad of enjoyable ways. Some of which included having genuine laugh-out-loud comedic moments (especially when the mice take on their human/celebrity personas), as well as clever pokes at traditional fairy-tale tropes. Such as, despite being set in a conventional medieval-esque fairy-tale kingdom, the film has modern elements. This is evident in several ways. The soundtrack is an obvious example, additionally the dialogue is ‘with-the-times’. On this note, many of the characters have American accents. Save for the Royal family, other members of nobility and most of their closest allies/companions, who are of course English, Scottish or from another UK region. Although it’s worth noting that, for the most part, it seems that the majority of the characters speak their portrayers’ real accent. There is so much else to say about the film it is easier to split my thoughts into categories.
Soundtrack
Cinderella’s jukebox status is deserved given its impressive roster featuring an extensive compilation of songs. With iconic covers such as, but not limited to: Madonna’s ‘Material Girl’, Queen’s ‘Somebody to Love’, Ed Sheeran’s ‘Perfect’, including fun mashups, and even one or two original pieces. Whether they’re accompanied by fun choreographed dances or not, all result in memorably entertaining and/or moving performances.
If I wanted to convince a non-musical aficionado who finds singing about feelings ‘cheesy and unrealistic’ to give Cinderella, and other musicals, a chance I’d say two things (and if they’re cynical enough not to take a chance on my recommendation, their loss). One: as far as realism goes, escapism is far more fun. Two: much like dramatic plays or films employ intense monologues; musicals instead use songs as a medium to communicate innermost thoughts and emotions of their characters, and they shouldn’t be snubbed. Music is a powerful tool for expression. Cinderella has a lot to say, and each song was very carefully chosen, taking into account which character(s) would perform it and why. You’ll be listening to the album of this iconic masterpiece on a loop after your very first watch, I know I still am!
Themes
Having the courage to never abandon your dreams and goals no matter the obstacles in your path is definitely one of Cinderella’s main messages. Wanting more for yourself no matter your circumstances doesn’t make you selfish, everyone is entitled to happiness and fulfilment. Speaking your mind and standing up for yourself and what you believe in is another point Cannon wants to drive home, evident in the way most of the characters refuse to stand down. Another message, without revealing spoilers, is that love is worth fighting for and you don’t ultimately have to make a choice between your achieving dreams or getting to be with your one true love (e.g. Mia and Seb in La La Land). You can enjoy both and more.
Correspondingly, feminism is an important theme. From the moment we hear from Billy Porter’s narration as fairy godparent (or ‘Fab G’) in the opening, we’re made to understand the kingdom is old-fashioned and traditional. In other words, patriarchy is rampant. Men are leaders and breadwinners; women expected to be compliant mothers, wives, and daughters. No room for interests outside the house, definitely not careers. Furthermore, they’re scrutinised and mocked for wanting more. This is especially investigated with Ella’s journey through the film as she challenges sexism and gender conventions.
In my opinion something that works in Cinderella’s favour is it’s deliberation in how patriarchy harms men as well as women. While women are oppressed and belittled, men are taught to uphold toxic masculinity and reject weakness no matter personal feelings or toll. Exploring how patriarchy negatively affects them too is refreshing, especially since it seems more films are taking note i.e., Barbie. Additionally, while feminism is the credence that men and women are and should be equals, it’s often grossly and damagingly misunderstood. Firstly, that being a feminist means hating men. Secondly, that it is about female domination, as opposed to liberation from unfair gendered expectations and limitations that affect women and men. Equity would perhaps be a more accurate label than feminism, however the term itself was coined at a time when women were more heavily subjugated while men exclusively had rights. Thus, fighting for female empowerment was a first step towards equality. Throughout Cinderella, traditional gender roles are constantly challenged – women have ambitions unrelated to marriage, and men are dared and encouraged to show emotion.
Cast
The film is composed of a diverse roster of characters, and everyone understood their assignments.
First and foremost, our leading lady. To nobody’s surprise Camilla Cabello can beautifully pull off this role’s musicality. Additionally, she gives an earnestly impassioned portrayal of a beloved character (I couldn’t believe it was her acting debut), and effectively makes Ella her own. In my opinion, Cabello’s interpretation is a more modern and three-dimensional take. For instance, this Ella has more agency as well as more of a personality, and attributes outside of being beautiful inside and out. She has dreams and goals other than finding true love, which at the beginning couldn’t be a concept further away from her mind. No, Ella is far more preoccupied in finding a way of escaping her current circumstances. But she’s not looking to accomplish this feat simply by marrying above her station like her stepmother is teaching her stepsisters. Ella is resolute in becoming independent and earning her own freedom, namely by fulfilling her dream of running a successful dress-making line and making a name for herself. So much so that Ella isn’t initially interested in attending the ball at all, given that not only does she have no interest in meeting or winning the Prince’s favour, but she also finds the notion of holding a ball to find a bride weird and antiquated. Additionally, Ella believes that even if she were interested someone like the Prince could never notice someone like her; one way she feels imposter syndrome. In the end, Ella only changes her mind about attending after learning that in attendance at the ball will be people from all over the world that might be interested in investing in her business. Ella surprises herself more than anyone else when she finds herself falling for Robert, she’d never planned for love but welcomes the possibility when it appears. But despite falling in love with a Prince, Ella has no intention of disrupting any chance of achieving a lifelong dream.
Ella is resolute in her ambitions and often takes fate into her own hands despite all the obstacles in her path, and only really having (initially at least) three mice as friends and moral support. I find this to be a much more inspiring, interesting and realistic exploration of the character. Not to mention in awarding Ella such agency she becomes a refreshingly better role model for younger children watching the film, especially girls. While this Ella is just as beautiful and incredibly kind as her predecessors, these admirable and desirable attributes are often treated as the default, and for some reason exclusive, characteristics for female characters. Especially in the past. Only focusing on two characteristics leaves little room for other traits and interests, resulting in imbalanced and fanciful portrayals, as well as unfortunate criticisms of vapidity. Which is unfaithful to life as women are multifaceted individuals, their many layers coming together and making them who they are. To our benefit this is being reflected more and more each day. Ella’s ambition, resilience and refusal to abandon or compromise her dreams are powerful messages for audience members of all ages watching the film.
Next, we have Nicholas Galitzine depicting another charming royal, though Cinderella was prior to his turn as Prince Henry in Red, White and Royal Blue. Having seen the latter first, the former confirmed my theory Galitzine was born to play royalty. Both share similarities, though I’d argue Robert is slightly edgier than Henry in a few ways, perhaps most superficially evident through his earring and almost exclusively black wardrobe. Despite facing slightly different challenges, one of their parallels is they recognise the flaws and issues that come with unwaveringly obeying a traditional monarchical structure. However, they’ve been raised to believe they’re powerless to change the status quo despite their position. In that vein, Robert has a turbulent relationship with his father. Strict and prickly King Rowan (Pierce Brosnan) is pressuring him to stop being frivolous and marry advantageously. Nonetheless, Robert has made a sport of dodging engagement offers. At first glance this seems like rebellion and so that he can continue palling around with his loyal merry bros instead of settling down and accepting royal responsibilities. Nevertheless, we discover Robert’s reluctance to wed stems from fear of marrying a stranger he’s unsuited to. Especially since Rowan drills into him that princes and kings marry for power, not love. For all his bravado, Robert has moments of genuine emotional vulnerability not always awarded to male characters. Unfortunately, Rowan’s not easily deterred, giving his son one last chance to find a bride at the kingdom’s upcoming ball, where prospective princesses will be attending. Otherwise Rowan will choose. Robert acquiesces after convincing him to invite all the kingdom’s maidens, regardless of station. Robert thought of this after Ella catches his eye, notably during a love ballad. He becomes enchanted, especially since she boldly talks back to his father. He immediately takes action opening up the ball, then sets out to find the mysterious maiden to invite her. His desire to feel a genuine connection with Ella is so profound he takes the precaution of a disguise so whatever feelings she could have aren’t influenced by his title. Planning to reveal the truth at the ball. In a refreshing change of pace from convention, the male protagonist dreams of love and finding his soulmate.
Much like Ella, this character was granted much-deserved updates. Prince Robert is not only charming, handsome and benevolent, but is also allowed to have flaws, quirks and character development. Which Galitzine is more than capable of bringing to life. Initially Robert exists in his own world, both literally and figuratively. No doubt a consequence being sheltered a lifetime in a literal castle. I wouldn’t call Robert selfish, but he begins more attuned to his own needs and desires, unconsciously oblivious to his privilege. Meeting and falling for Ella is the catalyst to his journey and growth. Such additions make this version of the Prince more relatable, allowing him to stand out from previous portrayals of superficial perfection.
Idina Menzel personifies a different sort of melodic ice-queen when she steps into the stepmother’s shoes. Vivian treats Ella dreadfully and is emotionally abusive, however their relationship is much more complex. For example, as opposed to previous portrayals Vivian actually does have some maternal feelings towards her stepdaughter, and the film concludes hinting at potential reconciliation between the two. A more moving and realistically layered depiction. Menzel is masterful is providing depth to a cynical social-climbing character that’s only ever been portrayed as being cruel and evil for the sake of it and succeeds in making Vivian somewhat sympathetic. Especially when we discover her hard-headed coldness comes from real places of hurt after having her own dreams and ambitions broken by family and the world. While it doesn’t absolve earlier treatment of Ella, it gives audiences a chance to understand her perspective and what made her that way. Vivian had dreams and desires like Ella, before becoming twisted by societal expectations.
As previously mentioned, Robert and Rowan don’t start with the best relationship. The latter an obstinate no-nonsense sovereign (both as ruler and family patriarch) and the former wanting to be nothing like him. Rowan intensely scrutinises and criticises Robert’s every move, constantly pressuring him to be a worthy heir who’ll relentlessly follow tradition no matter what. This pursuit leads to him frequently dismissing his wife and their daughter, Princess Gwen (Tallulah Grieve). An original character who demonstrates interest and capacity for state affairs but isn’t considered an option for heir like Robert is just from her gender. While Rowan puts up a convincing front as merciless patriarch, deep down he does care for his family. But due to toxic masculinity and his status as King not only does he find it inappropriate to express vulnerable feelings, he doesn’t know how. While this isn’t discussed I think that Rowan is merely continuing a cycle that his own father and King would have instilled into him. Possibly through even stricter and crueller means than he implements towards Robert. Like his son, Rowan goes through his own emotional journey and character development across the film.
Minnie Driver steps into a well-deserved crown as strong and regal Queen Beatrice. While father and son are strained, it’s repeatedly stated that mother and son are the exact opposite. Beatrice is fiercely protective of Robert and supports his wish to marry for love. Yes, the Queen’s scenes tend to be in relation to her husband, but this is far from a disservice. Beatrice has talents and interests beyond being the Queen, such as painting and fencing. Furthermore, she speaks her mind to Rowan and calls him out often. This leads to a powerful scene when she confronts Rowan about the way he’s been acting not only as King, but his treatment of her and their family. Rowan may be the authority of their Kingdom, but Beatrice refuses to blindly submit to him. The Queen knows her worth and what she, her family and the kingdom deserve. My only complaint about Beatrice is we didn’t get more insight into her relationship with Gwen, especially as two proficient women who are expected to be ornamental at best. However, there is only so much a film can explore in its run time, and as Robert and Rowan explore a paternal relationship, the maternal one is examined with Ella and Vivian.
Additionally, I feel that Robert’s younger sister Gwen merited more screen time, and not just to further explore her individual relationships within her family. Gwen’s an interesting original character, who desires being Rowan’s heir as much as Robert does. Though she is debatably better suited and more passionate. The Princess’ tenacity shines every time she speaks her mind and challenges sexism. Her sidelining could have been a clever tongue-in-cheek nod at how most other characters overlook and dismiss her opinions, but once again it’s more likely we didn’t get more Gwen because there’s only much that can be included and explored in 113 minutes. Still, it would have been nice to see even a little bit more of her since as far as we can see Ella, Gwen and Beatrice are the only women actually challenging men and traditional status quo. But I do appreciate that Gwen’s arc has nothing to do with avoiding an unwanted arranged marriage, and I love a scene where Ella (who hadn’t met her yet at this point) states the real brains of the family is Princess Gwen. Despite being stuck on the sidelines Gwen still manages to inspire her people by being the type of character that makes an impact despite limited scenes. We clearly understand what drives and motivates her.
It’s worth noting that despite parallel interest in the throne, Gwen and Robert aren’t presented as enemies or bitter rivals. Which is relieving as it would’ve felt like an obvious route to take. While Robert, like other characters, is guilty of overlooking his sister, he never stoops low to taunt her by rubbing his title and position as heir in her face. Simultaneously, while Gwen constantly questions her father’s pronouncements, she never resorts to take cruel shots at Robert or his own suitability as heir in an attempt of presenting herself as a better option. So, while their sibling relationship unfortunately isn’t explored greatly, I feel like this still says a lot about the type of bond and rapport they have between the scenes. This is further implied in a much clearer manner when Robert gives Gwen a special gift that she unmistakeably appreciates. Additionally, Grieve’s performance in a scene where Rowan is cruelly admonishing Robert and dismissing Beatrice displays Gwen’s distress at how her father treats her family. This is significant since whenever Gwen herself is treated unfairly she remains stoic and poised. This consequently insinuates she’s more hurt by a loved one’s pain than her own, inferring even more about the type of person she is. All in all, Tallulah Grieve’s portrayal shouldn’t be overlooked the same way her character is. I would very happily watch Princess Gwen in a spin-off film or series featuring her at the centre!
Billy Porter absolutely nails the role of Ella’s magical fairy godparent, who has traditionally been portrayed exclusively by women. Gender flipping a legendary character is always a risk, but as long as the actor and script do them justice (which is the case here) it’s worth it. Much like Ella, Fab G fits into no one’s pre-existing mould and has no intention of ever trying to. Additionally, having a man so effortlessly put his own unapologetic spin on a character audiences traditionally associate with women and overly feminine iconography very blatantly challenges toxic masculinity. While Porter only appears onscreen to be iconic in dishing out magic and advice alike for one scene, he makes every second as Fab G count. He may leave you wanting more, but fortunately we are blessed and treated with Fab G’s witty remarks thanks to Porter’s narration in the film.
Cinderella managed to truly move and astonish me with its emotional beats while still being genuinely entertaining and funny. What’s more as an avid lover of film, great performances and representations are not something that I could ever overlook. In other words, what a great time!
Having said that, I’d recommend more to people who are more partial to Barbie and Mamma Mia than to exclusively hardcore Oppenheimer or The Dark Knight enthusiasts. Moreover, we must be wary of harmful statements that circulate as there has been an unfortunate trend in films that feature more diverse casts and updated takes on stories/genres. They get review-bombed by trolls that don’t want to give them a real chance for being boring and woke (such as Captain Marvel and The Eternals) when they just feature more inclusive representation and storytelling that better embodies the real world and cultural zeitgeist.
For my first post of 2019, I’m sharing my personal opinions on who should have won at the Golden Globes this year. There were some unexpected winners and losers for me so I thought I would discuss these and what I thought of some of the films that won. I’m only going to talk about categories in which I have seen at least 3 of the films.
Bohemian Rhapsody – Best Motion Picture – Drama
I was very excited about this film as I am a long time fan of Freddie Mercury and Queen. The film certainly didn’t disappoint and it is one of my favourite films of the year. I found out more about one of my favourite bands and the hardships and joy they experienced in the early days of their success. I’m also really pleased for the cast as they all worked really hard on the film and press tour. I follow them on Instagram and the posts they make featuring each other have really kept the spirit of the film alive.
The category this year had 3 films featuring black actors which is historic in itself as awards ceremonies in Hollywood have been accused of unfair treatment in previous years. The fact that Black Panther, BlacKkKlansman and If Beale Street Could Talk were nominated is a big step towards racial equality. I have seen both Black Panther at the cinema and the Cannes Film Festival in May and BlacKkKlansman at the cinema back in September. Both films were amazing and would have been worthy winners of this award. A Star is Born was one of my best films of the year and it’s one award was disappointing but in this category I think it faced tough competition.
Rami Malek for Bohemian Rhapsody – Best Performance by an Actor in a Motion Picture – Drama
Rami Malek was the perfect Freddie Mercury in this film and got Freddie’s movements and mannerisms down to a T. I loved him as the lead singer of Queen and his performance brought the film to amazing heights. I also admire Malek for his roles in Need for Speed and the Night at the Museum franchise.
Bradley Cooper did an amazing job in A Star is Born as I have mentioned in a previous post and John David Washington as Ron Stallworth was powerful and iconic. Ron Stallworth becomes the first black cop in Colorado Springs and he engineers an infiltration into a branch of the Ku Klux Klan. The film by Spike Lee had a lot of powerful imagery and showed how awful and traumatising racism has been and continues to be. I have not seen At Eternity’s Gate or Boy Erased but Willem Dafoe and Lucas Hedges are both worthy nominees.
Alfonso Cuarón for Roma – Best Director – Motion Picture
I personally did not enjoy this film. It didn’t have enough plot or dialogue to follow to be able to empathise or relate to the characters. It was a pretty film to look at but as a drama it did nothing for me. I was disappointed with this winner and I thought the other nominees were more deserving.
Spike Lee and Bradley Cooper both did great jobs with their films and I would have preferred if one of them had won. I love Bradley Cooper as an actor and to be nominated for his directorial debut is a credit to his talents. Spike Lee knows how to tell a powerful tale and this was evident in BlacKkKlansman. Some of the dialogue and events really stuck with me. I haven’t seen Green Book or Vice so I don’t know how good the directing is.
Justin Hurwitz for First Man – Best Original Score – Motion Picture
The score for First Man really enhanced the breathtaking images of the film. When Neil Armstrong is going into space at the beginning the score helped me feel as though I was in the rocket with him. I think this score and composer are worthy winners in a tough category. Marco Beltrami did an amazing job with A Quiet Place, a film with minimal dialogue but the score creates great tension and suspense. I was on the edge of my seat for most of this film. Alexandre Desplat also did an amazing job with Isle of Dogs; another great film of 2018. Directed by Wes Anderson and told as an animation with Japanese and English dialogue, Isle of Dogs was a lovely story about the love between an owner and their dog. Like the Quiet Place, the score for Isle of Dogs helped enhance the story and build tension.
Black Panther’s score was also award worthy and it’s amazing to see a Marvel film nominated for so many awards at the Globes. Ludwig Göransson did a brilliant job and paired with the soundtrack by Kendrick Lamar, the sound is one of the major factors that has made Black Panther one of the best films in recent years. I have not yet seen Mary Poppins Returns but have heard wonderful things about the film.
Shallow from A Star is Born – Best Original Song – Motion Picture
I think this song really deserved to win. It’s a powerful song and sung by Lady Gaga in the film, it tells the story and feelings of her character, Ally perfectly. Bradley Cooper also sings the song very well but I think it is Lady Gaga that truly owns it. I have listened to on repeat for months and it still moves me and empowers me at the same time. The sheer power of Lady Gaga’s voice singing it in A Star is Born gave me goosebumps the first time I heard it in the film. I’m glad that A Star is Born won in this category.
It did have tough competition though as I think every song in this category was award worthy. All the Stars by Kendrick Lamar and SZA from Black Panther has a great beat that is perfect for the film and Girl in the Movies from Dumplin’ by Dolly Parton is a great theme song for the film. It’s uplifting in the same way as the message in the film. I have just listened to Requiem for A Private War and it was a beautiful song but I haven’t seen the film that it was written for. Revelation from Boy Erased is another powerful song that would have been a worthy winner.
The Americans – Best Television Series – Drama
I haven’t watched the recent seasons of The Americans but I have seen it before and I think it’s a good show but this year there were more worthy winners. I think that Bodyguard or Killing Eve should have won. I enjoyed both these series and think they were great television dramas. Bodyguard about the British Home Secretary having an affair with her personal bodyguard. It seem fairly simple but there is so much more to this drama. Plenty of action and romance and the last episode is one of the most intense pieces of television I have ever seen. Killing Eve had more of a cat and mouse element with Eve who works for MI6 trying to track down a female assassin all over Europe. It was a great female lead drama and the drama was more long played than in Bodyguard. Great plot twists and acting. I haven’t seen Pose or Homecoming but I have heard great things.
Rachel Brosnahan for The Marvelous Mrs Maisel – Best Performance by an Actress in a Television Series – Musical or Comedy
I think that Rachel Brosnahan is an amazing actress and this is the role that she is born to play. I can’t see anyone else even attempting to play Mrs Maisel. I love this show and have seen both seasons. It is about an upper class Jewish woman in New York City. At the beginning of the show, Mrs Maisel’s husband leaves her for his secretary and to cope she turns to stand up comedy. It is set in the late 1950s when women were not very well received in comedy. The whole cast of the show are amazing and I would highly recommend watching it.
GLOW is an amazing series about female wrestlers in the 1980s and Alison Brie does a great performance as Ruth. I love this show and have seen both series and I cannot wait for the next season. Kristen Bell is also great as Eleanor Shellstrop in the Good Place, a comedy about going to the afterlife. The show while being up to date on pop culture also helps the audience to understand concepts of philosophy and make sense of what happens to us after death. I was really glad that Kristen Bell was nominated. Will & Grace and Murphy Brown are shows that I haven’t seen but have heard good things about.
I would also like to give a special mention to Ben Whishaw who won the award for Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture made for Television. His role as Norman Scott in A Very English Scandal was great and he was worthy of the award. I have however not seen any other nominations in his category so it wouldn’t be fair to say he is the best, not having anything to compare it to. I watched all of A Very English Scandal last night and it was such a powerful and almost unbelievable true story. It tells the tale of Norman Scott having a gay affair with powerful politician Jeremy Thorpe in the 1960s and then being targeted for murder by Thorpe. Hugh Grant as Jeremy Thorpe was also great and a role we rarely see him play, the bad guy.
I know I only gave my opinions on a few of the categories but I didn’t feel it was right to judge categories in which I hadn’t seen more than 3 of the nominations.
I hope to write on many new and different topics in 2019.
This is another post by A.L. Fox, my talented guest writer. This time she has written about three different cinemas in two different countries she has visited this summer.
Happy Watching
Robyn 🙂
There’s more to the cinema experience than simply absorbing the themes and colours that stimulate the senses from the screen, and hopefully stir our emotions – in a good way. Many of us still visit the cinema to watch a film even though we can generally view most films from the comfort of our own homes.
So why do we continue to go out to see a film?
Often, it is to be sociable and share an experience with friends or a loved one or sometimes, that we want to be the first to see a new blockbuster release or, on occasion, to be challenged by new worlds and ways of seeing. There are many demands on our leisure time these days, and we have screens wherever we go, whether it’s a phone, a tablet, or a laptop but we still go to the cinema. In this century, around 150 million people still visit the cinema every year in the UK. Of course, this is a considerable drop from the 1.5 billion that went in the heyday of the Second World War. But now there are so many different ways of watching a film.
With so much competition for our eyes, cinemas have become much more than just a screen; they are places where you can eat, play video games – and eat mountains of popcorn. Most are multiplexes offering 3D and a very different experience from the cinemas of old. Now you book online, choose a seat, collect your ticket from a machine and don’t have to speak to anyone. It’s not quite the same everywhere in the world, though.
America is the home of cinema and there will probably be as many different cinemas as there are States but going to the cinema in New York is like stepping back in time. We were in the Big Apple when Mamma Mia: Here We Go Again opened so, naturally, we had to go. Bizarrely, the weather wasn’t as hot as we’d been led to believe; it rained and so that was another factor in our decision. The AMC chain is the biggest US cinema chain but the one on W 34th St felt as though it remained untouched since it opened in the 50s. First, we had to get to the 4th floor; there were the usual food stalls – and popcorn but also, gambling machines. We bought our tickets, and chose a seat; on the screen there were gaps between the seats – and, in the cinema, the seats were in pairs with a large table – for the food, between them. Sitting down, there was another surprise for there were acres of room between the rows. People were able to walk without asking others to move. Unsurprisingly, people didn’t stop eating throughout the film and American audiences aren’t exactly quiet; they do like to voice their opinions, or add their viewpoint to the action.
AMC Cinema on W 34th St, New York City, USA
For the record, Mamma Mia: Here We Go Again was enjoyable – the beginning was a little flat but once the cast hit their stride about 30 minutes in, it became more like the first film – and that’s exactly what audiences were expecting. The film delivered but it wasn’t quite a match for the original. Now that sounds like a criticism, but it’s not meant as one. It is simply that the first film was so iconic. A special appearance by Cher was successfully woven into the plot and she provided enough glitz to offset the absence of Meryl Streep, although there were some scenes featuring Streep, so she wasn’t entirely missing.
Most of the other main characters from the first film had major roles in this one with the addition of a young Donna (Lily James) and her Dynamos (Alexa Davies and Jessica Keenan Wynn) plus younger versions of Sophie’s three dads (Jeremy Irvine, Josh Dylan and Hugh Skinner).
Now, talking of original – the Regal, the second cinema we visited in New York, on W 42nd St was definitely like stepping into the 50s again. Here, the seats were black leather armchairs that extended to support your feet, almost to the point of becoming a bed. The carpets had the letter of the rows woven into it and the decor hadn’t been touched for decades. Here, we saw Incredibles 2; a film that had been on general release for some weeks so it wasn’t busy. We did get the noise of audience participation once again, and it was loud – the sound turned up to echo over the comments.
Regal Cinema W 42nd St, New York City, USA
As for the film itself, it was definitely worth watching. It had all the impact and colour of the first film with an updated plot to reflect changes in society. This time, it was Elastigirl or Helen Parr’s time in the spotlight. She went to save the world while Mr Incredible became a stay-at-home dad. As ever, the action was fast-paced and attention-grabbing for both children and adults. The animation was brilliant and shows that Disney Pixar is not just for kids.
Both experiences were good; if you get the chance to visit either of these cinemas then take it; a different experience but a good contrast and it makes you appreciate the relative quiet of British audiences – unless, you’re unfortunate enough to sit next to the person who never stops eating. There are people who believe calories consumed in the dark don’t count as they munch continuously for the length of the film and that can be a big distraction but then, it’s all part of the cinema experience.
And what’s still part of the cinema experience in Turkey is – the intermission. Yes, they have a break in the middle of the film! We were watching Mission Impossible – Fallout 3D – and, at a particularly tense moment in the action, the screen went dark. An electrical fault? No, it was an interval. People went out and returned with more food, it may even have been a break for the smokers but it was only one hour into the film and it did break the flow.
The MI films are all fast-paced with plenty of action; there are no slow sections where a break could be achieved without interrupting this flow so it did spoil the experience – for me, at least. We didn’t mind the subtitles – some Hollywood films are dubbed but most are shown in English – but that break did upset the concentration. However, even though this is the sixth film in the franchise, it still captured the hearts and minds of the audience with a good story, death-defying stunts and enough dialogue to explain the plot points. Tom Cruise playing the lead Ethan Hunt was brilliant as always and supported by a sterling cast featuring Simon Pegg, Ving Rhames, Henry Cavill, Rebecca Ferguson and Alec Baldwin.
Three films, three different experiences; if you do get the opportunity to visit the cinema in another country then go – it may even make you appreciate what you have at home. As for costs, in the US we paid about £10/£12 for each ticket and in Turkey, we paid a bit less but, in terms of comparable costs relative to the country, tickets are much the same price.
