Tag: London

PADDINGTON IN PERU – Review

Paddington in PADDINGTON IN PERU.

Although there are still a few weeks before most kids get their much anticipated Spring breaks, another “family-friendly” franchise flick arrives which hopes to give a bit of warmth to the chilly last weeks of Winter. Now December, and 2024, finished up with two such films, MUFASA: THE LION KING which is a rare sequel/prequel in Disney’s series, and another adventure of the video game superstar, SONIC THE HEDGEHOG 3. Like the latter, this new release is the third outing, and it also mixes a CGI-animated character in a live-action world. However, it also shares its origins with the current (for the last two weeks) box office champ DOG Man, which is based on a beloved series of children’s books. Now can the filmmakers score a rare “hat trick’ as the first sequel is so admired that it was ‘name-checked” at the end of the Nicholas Cage comedy THE UNBEARABLE WEIGHT OF MASSIVE TALENT? Perhaps that’s why they’re “shaking things up” with a change in locale as we join PADDINGTON IN PERU.


The film actually starts off in that exotic land with a short flashback as our hero Paddington the bear (voice of Ben Whishaw) has a last visit with his adored Aunt Lucy (voice of Imelda Staunton). Then it’s back to the present day as Paddington returns to his train station to obtain a photo, in a coin-automated booth, for a passport, which will confirm that he’s now a legal British citizen. Back at his home with the Browns, matriarch Mary (Emily Mortimer) is concerned that the family is drifting apart. Son Johnathan (Samuel Joslin) barely leaves his room as he invents gadgets to aid in his video game mania, while daughter Judy (Madeleine Harris) is (sigh) deciding on a college, Even papa Henry (Hugh Bonneville) is busy trying to impress his new American boss (who thinks he “plays it safe”) at the insurance company. A postal letter changes everything as Paddington gets news from the Reverend Mother (Olivia Colman) who runs the Home for Retired Bears in Peru. It seems that Aunt Lucy deeply misses him as her behavior has become increasingly odd. Paddington must return to his homeland, and the Browns will join him on the trip (that’ll show Henry’s new boss). But when they arrive the Reverend Mother informs them that Lucy wandered away, into the dense jungle. Later, Paddington visits her room and discovers a note with a map that leads to Rumi Rock. Grandmother Bird (Julie Walters) stays behind with the RM (she fears the outside world), as the Browns venture out to the village in hopes of hiring a guide and a boat. Luckily both appear as they meet Captain Hunter Cabot (Antonio Banderas) and his “first mate”, daughter Gina (Carla Tous). Ah, but things take a turn as he discovers that the map will take him to the fabled lost land of gold, El Dorado, which was sought by his greedy ancestors. Gina suspects her papa has “gold fever”, but can she ‘snap him out of it” before his zeal causes disaster for the Browns and prevents a reunion between Paddington and Lucy?


Although it’s been nearly eight years since our last cinema “visit”, the cast of regulars nimbly slip into their roles as though they were comfy slightly worn slippers. Whishaw still gives a mellow melodic gentle tone to the little bear’s “pipes”. Bonneville also brings lots of warmth to the bumbling, often befuddled, but caring patriarch. Harris and Joslin ease into the “young adult” stage of the Brown siblings. Walters is a grey-haired energetic dynamo as the plucky Granny Bird. Plus we get a nice cameo from Jim Broadbent as sage shopkeeper Mr. Gruber. As for the new “additions”, Mortimer takes over from Sally Hawkins as the sometimes melancholy (feeling the empty nest blues) matriarch, who provides a gentle “nudge” to point everyone in the correct direction. That’s when she’s not stifling a “swoon” over the dashing seafarer Cabot given the full swashbuckler swagger from the wry Banderas. He’s having a blast, especially when he’s donning wigs and period costumes to play the branches of the Cabot family tree. Tous is a terrific “level head” as she sees her papa “going for the gold”. Matching Banderas in the “embracing the silly” is the zany Colman, spicing up her lines with a sweet “sing-song” cheerfulness deftly parodying cinema’s “cute clergy” (crooning like a crazed maria from THE SOUND OF MUSIC), or evading inquiries with a vapid vagueness. These screen vets are happily enjoying a romp in the Paddington playground.

Oh, that playground has a new supervisor in director Dougal Wilson who takes the reigns from Paul King (who contributes to the whimsical screenplay). Thankfully he keeps the tone light and breezy presenting a magical timeless version of London while expanding the focus to present a very adventurous, slightly dangerous (the fishes nibble too much) classic pulp-novel version of Peru. Unfortunately, the pace lags a bit once the Browns are separated in the lush leafy jungle, and Cabot’s pursuit resembles a mix of the Looney Tunes Coyote and Indiana Jones (a boulder that seems to have a mind of its own) which may get the tykes a bit squirmy (a six or seven minute trim would’ve been a help). That and the lack of a great campy villain (miss you Phoenix B.) contributes to this being the weakest of the trilogy. But the standards set by the previous two are so high, especially among so much dreary family fare, that this is still an engaging watch. And really, we’d follow the Browns anywhere, especially when they join PADDINGTON IN PERU.


3 out of 4


PADDINGTON IN PERU opens in theatres everywhere on Friday, February 14, 2025

HARD TRUTHS (2025) – Review

Although the big family holiday celebrations are nearly a month in the past, there’s always a need for a new look at sibs, parents, and kids at the movies. This new release is set across the pond and concerns connected family units headed by two sisters who couldn’t be more different. It’s that whole “sweet and sour” dynamic at play here. It’s also funny, sad, and totally engaging thanks to the reunion of a celebration filmmaker and one of his greatest actresses/collaborators after nearly three decades. This time out they’re giving us an intimate look at a damaged soul who really needs to deal with some HARD TRUTHS.

The film’s story begins on a quiet street in a London neighborhood. It’s early on a sunny Spring-like day as a young man on a bicycle meets up with his boss as the enter their work van outside a modest home. Inside the ill-tempered matriarch of the family, Pansy (Marianne Jean-Baptiste) is lecturing her 22-year-old son Moses (Tuwaine Barrett) as he silently shuffles out the door, headphones always in place. Meanwhile, the patriarch and owner of that work van, Curtley (David Webber) toils away with that chatty cyclist, Virgil (Jonathan Livingstone) during a home renovation job. Across town, Pansy’s younger sister Chantelle (Michele Austin), happily chats with her clients as she styles their hair at a beauty salon. That night Pansy relates a list of aggevations during her dinnertime tirade as Curtley and Moses eat in near silence. Across town sister Chantelle enjoys a bottle of wine and some bubbly gossip at the walk-up apartment she shares with her two twenty-something working daughters, Aleisha (Sophia Brown) and Kayla (Ani Nelson). The next day, Pansy gets a free hair treatment from her sister, as Chantelle tries to invite her over for a family meal after they visit the grave of their late Mum (it is Mother’s Day). Pansy won’t commit as she squawks about her tangled follicles. After they’re finished Chantelle is back at the salon, as Pansy is “unleashed on the world” spewing venom and bile at salesclerks, doctors, motorists, and dental hygienists. Back at home, she sleeps during the day while cowering in fear of the wildlife (birds and a timid fox) invading the small backyard garden. So how long can she vent her anger at family and strangers before it takes its toll on them and on her health? And will she get together for the holiday with her concerned sister who loves her despite everything? Can the sibs get to the root of Pansy’s rage?

Much acclaim has already been directed at Ms. Jean-Baptiste along with several acting awards from film fests and critics groups. To put it mildly, these accolades are extremely well deserved. Pansy is perhaps a human-wrecking ball, destroying the tranquility of any setting she enters, much like the Tasmanian Devil of Looney Tunes fame, though her insults are sharper than his fangs. And in the hands of an actor with modest skills, Pansy could be a cartoonish character, a riff on the still popular “Karen” memes. But Jean-Baptiste dives much further, giving us a profile of “the walking wounded”. Her screeds release no tension from the body, instead refilling her inner pressure (and making us wonder if she’ll reach a detonation). Jean-Baptiste conveys that weariness through her downturned eyes and stiff, robotic body movements. Pansy is similar to a wounded animal in the wild, in agony but quick to strike back at anyone trying to offer aid. In this tale, it’s kid sister Chantelle, who is given a calm, nurturing disposition by the beaming Ms. Austin. She’s a ray of sunshine to all that she encounters, though we see her heartbreak when no amount of her kindness connects with her suffering sibling. Plus Austin as Chantelle is a great Mum (and a fun chum) to her daughters, played with great energy and humor by Brown and Nelson. As for Pansy’s household, Webber as the brow-beaten husband Curtley, stays stoic, but his withering glare hints at his own seeting disgust with his mate. Luckily he also has a fatherly concern for his only son Moses, playing an aimlessly lost soul, staring downward as he wanders the streets (he doesn’t stand up to a pair of bullies) and only waking up when he’s indulging his love of aviation via books and video games (perhaps to fly away from his misery). He may be the most tragic of the fractured family.

This exceptional ensemble is brilliantly guided by writer/director Mike Leigh, who gives us a look inside the lives of a family that could be from everyone, even down the street from you or me (kudos also for the quaint quiet locales that feel far from bustling London). Leigh lets us spend time with all the characters at work and at home. We get brief scenes of Aliesha and Kayla on the job during some fairly difficult exchanges (a skin care product pitch turns nasty unexpectantly), to show us that they can “leave it at the office” and be civil and sweet back home with Chantelle. But the real “meat” of the “movie meal” is Pansy “on the march” and Leigh shows us the stunned reactions of folks caught in the “line of fire”, flustered as they try to be professional and respectful (oh, the trials of the service and retail industry). This culminates in a quiet, almost hushed, healing of “old wounds” that should heal, though it seems a bit temporary. Happily, Leigh does deliver a bit of hope, a small shaft of light at the end of a dark tunnel, in the film’s final moments which (and this is rare) has us wondering about the characters and actually wishing to stay with them just a tad longer. The superb direction, engaging screenplay, and stellar performance by Jean-Baptiste make it hard not to be impressed and entertained by these HARD TRUTHS.

3.5 Out of 4

HARD TRUTHS is now playing in select theatres

PETER PAN & WENDY – Review

It looks like kids’ movies are dominating the box office right now. Mind you, what looks to be the first billion-dollar blockbuster is based on a decades-old video game. But what about the classic fairy tales, you may ask? Not to worry, although it’s fairly young at a spry 121 years, as opposed to the centuries-old Grimm Brothers stories and assorted myths and legends. And it’s also the 70th anniversary of the definitive animated adaptation from the master artists at the “mouse house”. Ugh, you may be thinking, not another live-action retread of a superb cartoon ala the recent PINOCCHIO (not the Oscar-winner) or the dreary DUMBO. Well, you’re not really correct as this tale began (after its literary roots) on the stage and has been played by flesh-and-blood actors in versions going back to the silent movie days. And so, here’s another version, this time sharing the title with the other main character as we take flight with PETER PAN & WENDY.

It all begins like most versions in Edwardian London, around bedtime in the Darling House. Pre-teen Wendy (Ever Anderson) is a bit anxious as she packs for her trip to boarding school in a few hours. As usual per younger brothers, John (Joshua Pickering) and Michael (Jacobi Jupe) are literally bouncing off their beds as they play “pirate”, Father (Alan Tudyk) rushes in to calm them down and to put their canine nanny out for the night. Ah, but Wendy regales them with one last story of their hero Peter Pan before Mother (Molly Parker) tucks them in with a lullaby. It’s an interrupted sleep as they discover the fairy Tinkerbell (Yari Shahdid) has led Peter himself (Alexander Molony) to the bedroom in search of his missing shadow. After a sprinkling of pixie dust, they’re soaring over the city and en route to that enchanted isle of Neverland. Oh oh, the troupe is spotted by Captain Hook (Jude Law) at his pirate ship offshore. With the help of his first mate, Mr. Smee (Jim Gaffigan), the crew fires cannonballs into the sky. John and Michael are captured leading to a rescue by Peter, Tink, and Wendy, who are soon helped by the Lost Boys (and girls) led by Princess Tiger Lily (Alyssa Wapanatahk). As the frustrated Hook plots his revenge, the Darlings settle in with Peter and the Lost Boys. But will they be content to stay there or will Wendy and her brothers find a way to return to their home so far away?

Despite the second billing, it’s Wendy who is really at the front and center of this retelling. Relative screen newcomer Anderson brings a modern sensibility to the role along with (oh, I’ll just blurt it) spunk as she has little time for macho foolishness. She’s not merely the “teller of tales” substitute Mum for her sibs and all the Lost Kids, but a formidable force against the villains. Molony seems to have the right mixture of ego and vulnerability as the often aggressive green-clad swordsboy. He’s not adept at dealing with Wendy’s challenges, though he learns to welcome them and to actually reflect on his own past behavior. Law has the grimacing threats of Hook honed to sneering perfection, but he offers a glimpse into Hook’s haunted inner life. This time the hungry croc isn’t the main star of his nightmares. Shahidi as Tink shows a real talent for pantomime as the expressive but very soft-spoken (Peter insists that you’ve got to learn to listen) fairy/sidekick. Gaffigan hits all the comedy beats as Smee, though he’s less of a comic foil and more of a parental figure and calming influence on his former charge, Hook. Wapanatahk turns Tiger Lily into an impressive warrior queen, And in their brief “bookend” roles, Tudyk is a charming and blustery papa and Parker is a sweet, gentle melodic matriarch.

This “re-imagining” is guided by director David Lowery who co-wrote the adaptation of J.M. Barrie’s novel (and the ’53 Disney feature) with Toby Halbrooks, and it’s not his first crack at a Disney “reboot” as he took on PETE’S DRAGON seven years ago. And much like that effort, this is a much darker, moodier “spin” (lots of shadows even as the sunlight shimmers on the sea). But that also reflects the script’s tone as it must give us details about the heritage of the characters that never seemed needed. I was reminded of the flashback to the demise of Belle’s mother when the action stops dead to have Pan or Hook explain their haunted history. This all works toward a real lull in the movie’s midpoint which almost sinks it. As for its ties to the 70-year-old cartoon, the old songs are out, though we hear a bit of “You Can Fly” as the pixie dust works its magic, in favor of the new lullaby from Mama Darling. And they’ve completely reworked the Tiger Lily character so that she is the rescuer who now sometimes speaks in the Cree language (and none of the “heap big” cliches in her family’s village). Another nod to the new century is the casting “inclusion” in the major roles and supporting cast. We see pirates of every color, and even a lady or two. And the Lost Boys include some girls, along with a special needs swashbuckler. These are nice new touches, but it doesn’t make up for the downbeat mood or the dimly lit backdrops. And yes, the croc is there, though only for one scene where he appears to have wandered in from a LAKE PLACID sequel (no comedy in this CGO critter). This is far from the nadir of these live-action retellings, but there’s nothing here that elevates the classic tale in the languid new visit with PETER PAN & WENDY. Maybe it’ll all go down a bit better at home while dipping into a jar of his peanut butter…

1.5 Out of 4

PETER PAN & WENDY is now streaming exclusively on Disney+

LIVING – Review

Bill Nighy as Mr. Williams in LIVING. Photo credit: Jamie D. Ramsay. Courtesy of Number 9 films / Sony Pictures Classics.

Bill Nighy gives a striking performance as colorless taciturn bureaucrat whose his rigid, repetitive life is transformed by a terminal diagnosis, in LIVING. Director Oliver Hermanus, working with a script by novelist Kazuo Ishiguro (“Remains of the Day”), re-tells Akira Kurosawa’s IKIRU by transporting it to 1950s London, with its armies of buttoned-down businessmen in identical conservative dark suits, bowler hats and umbrellas, moving through the same drab routines day-to-day. The change works amazing well, and is aided by a perfect script, evocative period-style photography, nice period flourishes and, of course, a remarkable performance by Bill Nighy, which certainly ranks among his best in his long career. LIVING is a moving drama about living a meaningful life, a film well worth seeing.

LIVING opens with credits that completely recreate the look of 1950s dramas, from the style of the text to the spot-on bustling streets to the color tone of the film. The effect is so startlingly convincing that you might think you are watching a film by Hitchcock from 1952, the year that Kurosawa’s black-and-white masterpiece was released. From that auspicious start, the film smoothly moves to a more natural palate as it transitions to train journey, as Bill Nighy’s character starts his own journey.

Nighy’s character does not appear right away. As the top man at a small division of London’s government center, the civil servants under his command talk about Mr. Williams (Nighy) as a revered, aloof figure as they are joined by a young new hire, Peter Wakeling (Alex Sharp), waiting on platform for the morning train. Young Wakeling is eager, smiling and friendly – way too expressive for their tastes – and his unsmiling new co-workers let him know right away that is not proper behavior for their dignified office. When Mr. Williams does arrive on the platform, he merely nods to his underlings, and goes to his separate compartment, like a military officer keeping his distance from the ordinary soldiers.

Of course, there is nothing so grand about the office they share in the London’s civil government office. Mr. Williams bows deferentially to a Sir James (Michael Cochrane), before proceeding to his own department’s tiny office, where he sits at the head of shared table where they process their paperwork. Rigid routine rules everything in their day.

The coworkers offering hints to their new colleague helps introduce us to this gray bureaucratic world. There is only one woman in this male-dominated office, young Miss Harris (Aimee Lou Wood) who dresses with a little splash of warm color and occasionally bends the rules by smiling or even a little joke. But almost immediately she tells us that she is going to be leaving for another job soon, as a manager in a restaurant.

Their paper shuffling routine is interrupted by the arrival of a polite but weary small group of women with a petition, to transform a problem vacant lot into a playground. It is clear they have been here before. In fact, they have been to every department before, shuffled from division to division as each office insists the project doesn’t fall under their purview and sends them to the next one. Eventually, the paperwork goes in some pile where it sits, neglected, until it is discarded and the process starts again.

There is an absurdist clockwork aspect to this Sisyphean routine. But on this day, Mr. Williams breaks routine, announcing he must leave early for an appointment. He volunteers nothing, and his underlings do not to ask, but the appointment is with his doctor.

At the doctor’s office, Mr. Williams gets grim news: a terminal diagnosis and six to nine months to live. The news leaves him stunned, and suddenly considering what he should do with his remaining time. He arrives home late, and we are surprised to learn that he once had more of a life. A widower with a grown son and a daughter-in-law who live with him, we expect them to offer some support when he tentatively tries to tell them about his diagnosis. But he has not even said more than a couple of words before they abruptly brush him off, heading off to bed, while saying they have to get up early. Instead of returning to the office the next morning, Mr. Williams embarks on a wandering journey as he considers his mortality and reflects on what he might do with his remaining life.

Bill Nighy tamps down his usual charm playing this very stern character, at least to start, but bit by bit, we get glimpses of that charm as well as the character’s long-hidden inner life. This brilliant. carefully-crafted performance is the major reason to see this film, but the affecting script, lovely period details, and beautiful photography provide their own delights, as well as supporting Nighy’s work. Nighy and the script move the character from hard flintiness to a lost despair to a movingly human resolution.

Other cast members contribute to that story arc, with Tom Burke offering a nice turn as a surprisingly kind bohemian writer who takes Nighy’s Williams on a brief tour into nightlife hedonism, and Aimee Lou Wood as Miss Harris and Alex Sharp as young Mr. Wakeling who offer glimpses of youthful light and hope, lights that help Williams decide on his path.

The period details are not only spot-on and contribute to the film’s surprising visual beauty. Director of Photography Jamie D. Ramsey wraps everything in warm, striking visual, which frames Williams’s journey well as he comes to grip with his life. The final scene is particularly touching, due to the fine imagery and excellent mis-en-scene from Ramsey and director Oliver Hermanus.

While Bill Nighy is the standout in this film, it is such a well crafted and touching drama that is more than worthwhile and a fitting homage to Kurosawa’s original.

LIVING opens Friday, Jan 20, at Landmark’s Plaza Frontenac and other theaters.

RATING: 3.5 out of 4 stars

MRS HARRIS GOES TO PARIS – Review

Lesley Manville stars as Mrs. Harris in director Tony Fabian’s MRS.HARRIS GOES TO PARIS, a Focus Features release. Credit: Dávid Lukács / © 2021 Ada Films Ltd – Harris Squared Kft. Courtesy of Focus Features

Mid-century high fashion and an irresistibly charming Lesley Manville add sparkle to the sweet, light-as-air MRS HARRIS GOES TO PARIS, an uplifting tale in which an older British house cleaner falls in love with a Dior dress and decides she must have one of her own. It is a grown-up fairy-tale that fits neatly into a familiar genre of British films dealing with the divide between the working class and the aristocratic one. Set in 1957, MRS HARRIS GOES TO PARIS also showcases mid-century couture fashion, with recreations of actual Christian Dior period dress designs, with other visual delights by costume designer Jenny Beavan, the creative force behind the fashions in last year’s CRUELLA.

An outstanding and nuanced performance by Lesley Manville lifts this film, and along with the wonderful mid-century period fashions, is the major enjoyment and reason to see this film, which is a sweet but unsurprising feel-good fantasy, despite a team of writers who tried to interject a little reality, with mixed results. Fans of Mike Leigh’s films and British dramas already know how excellent the talented Lesley Manville is, but she gained some wider recognition for her Oscar-nominated turn in PHANTON THREAD and hopefully with this film, that rise in recognition will continue.

In 1957 London, Ada Harris (Lesley Manville) has been waiting for her beloved husband Eddie to return from WWII, ever since the plane he was flying was shot down. Twelve years later, he still is listed as missing-in-action and Mrs Harris continues to hope for his return, as she ekes out a living by cheerfully cleaning the homes of more affluent people who hardly have any awareness of her beyond her job. The days of this sweet, kindly, unassuming working-class woman revolve around her work and life in her tiny basement apartment, although her lively best friend, neighbor and fellow cleaner Vi (Ellen Thomas) tries to draw her out.

One day, while cleaning the home of an aristocratic but cash-strapped client, the wife (Anna Chancellor) shows Mrs. Harris a beautiful Dior dress she just bought for an upcoming social event, despite being several weeks in arrears to her cleaner, a 500-pound purchase she plans to conceal from her husband. Instantly, Mrs Harris is smitten by the dazzling dress, and despite the high price, she determines to buy one for herself, as her one splurge in her drab life.

That she has nowhere to wear such a fancy dress does not matter to Mrs Harris. She sets out to scrimp and scrub to raise the money to buy her own Dior couture dress, despite the absurdity of a working-class cleaner spending her money to own such a expensive frock. That she has nowhere to wear a couture dress is brought up to her over and over again as she shares her dream, but it does nothing to dampen her ambition or ardor. With help from with her friend Vi (Ellen Thomas) and a roguish Irish bookie named Archie (Jason Isaacs), Mrs Harris finds a way to try to make her dream come through. After a few set-backs and some strokes of good luck, Mrs Harris does head for Paris and the House of Dior.

There is a lot of wish-fulfillment fantasy in director Anthony Fabian’s tale of later-life dreams, based on the 1958 novel by Paul Gallico. This is not the first filmed adaptation of Gallico’s story – in fact, it is one of several tellings of this working-class, middle-age fantasy. However, co-writers Carroll Cartwright, Olivia Hetreed and Keith Thompson worked on the script to inject some surprising, even sobering, moments of reality into the fairy tale sweetness, although with mixed results.

One of the refreshing parts of this story is Mrs. Harris’ single ambition. The down-to-earth Londoner only dreams of owning a fabulous dress, not remaking her life, social-climbing or finding late-life love. This gives her a freshness and grounding that Manville uses to give the character depth as well as making her lovable and inspirational. Of course, some of those other possibilities are raised along the way, but Manville’s performance elevates the character above the script.

Once in Paris, some of the script’s mix of reality and fantasy crops up, with the clueless, optimistic Mrs. Harris having no idea how to even get to House of Dior, much less any awareness of the audacity of her plan to simply walk in. But Manville ensures we can’t help both believe what happens and be charmed and amused by her character’s pluck, as her good-natured directness and kindness win her allies to help her to do just that.

But there are obstacles to overcome. Isabelle Huppert plays Dior’s stern manager and gatekeeper, Claudine Colbert, who tries to head off the working-class widow when Ada Harris tries to sit in on a showing of the new Dior collection. Huppert’s gatekeeper is overruled by a wealthy patron, the Marquis de Chassagne (Lambert Wilson), an Anglophile widower, who offers Mrs. Harris a spot as his plus-one as well as his arm, and by the surprising fact that the charwoman is planning to pay with cash – and flashes the bills to prove it – which persuades Dior’s accountant Andre (Lucas Bravo, EMILY IN PARIS) and even the designer himself (Philippe Bertin) to let her in, as cash-flow has been a bit of an issue of late.

Of course, we get a fashion show, and here costume designer Jenny Beavan gets to shine as audiences are treated to eye-candy in the form of diverse and gorgeous models in flood of beautiful period Dior couture, dresses recreated with the cooperation of House of Dior from their archival collections. Beavan supplements those visual delights with her own luscious designs, making the whole Paris sequence particularly colorful and visually pleasing.

Mrs. Harris expected she could pick out her couture frock and then zip back home, clueless about the need for fittings for the custom dress. But like in any good fairy tale, she gets help. Accountant Andre who offers her the use of his absent sister’s room in the Montmartre apartment they share, and she gets a ride there from model Natasha (Alba Baptista), whom the kindly Englishwoman helped when the model stumbled while rushing into the design house entrance, and who it turns out is the “face of Dior.” While arriving for daily fittings, Mrs. Harris endears herself to the Dior staff, particularly the seamstresses and ordinary workers (and being handy with a needle herself, even helps out a bit), becoming a kind of folk hero to them. However, the top tailor, Monsieur Carré (Bertrand Poncet), is less taken with the frank British cleaner, who makes no attempt to conceal her working class background, but Mrs. Harris is aided by showroom assistant Marguerite (Roxane Duran) who sees the positive effect the unstoppable Ada Harris has on the staff, and intercedes between the haughty master fitter and the working-class client.

Isabelle Huppert’s character is Mrs Harris’ nemesis but ironically, Manville nabbed her Oscar nom for her performance as a similarly chilly gatekeeper to a house of fashion in PHANTOM THREAD. An indication of Manville’s remarkable level of acting skill is in the smooth ease with which she fits into each role. While some have long been well aware of Manville’s considerable talents, PHANTOM THREAD raised the underappreciated Manville’s profile more generally, and hopefully she will at some point gain the same kind of recognition given similar talents like Judi Dench and Helen Mirren. In fact Manville’s performance far exceeds the film she’s in, exploring nuances and aspects of that character well beyond the simple plot.

All the supporting cast are good, although Huppert’s character is so brittle that she does not work as well as a foil for Manville as might be hoped. Lambert Wilson’s Marquis offers a hint of romantic possibility for Mrs Harris, and Lucas Bravo as shy accountant Andre and Alba Baptista as model Natasha offer a little budding romance, although their discussions of Sartre veer rather towards cringe-worthy. Ellen Thomas as Ada’s Caribbean-born pal and Jason Isaacs as an Irish charmer do well as Ada’s friends, although hampered by some unfortunate datedness in the characters.

MRS. HARRIS GOES TO PARIS is a feel-good, all-ages tale with an uplifting and inspiring message, that might be too saccharine for some but which is elevated tremendously by a wonderful performance by Lesley Manville and also is filled with gorgeous delights for fashionistas.

MRS HARRIS GOES TO PARIS opens in theaters on Friday, July 15.

RATING: 2.5 out of 4 stars

CORDELIA- Review

So, what’s one of the hazards of living in a big city? Most folks might immediately think of crime or perhaps trying to earn enough to keep up with the high rents. Strangely, a lot of city dwellers deal with isolation, that sibling to loneliness. And even though the streets are packed with bustling commuters and shoppers, there are those who internally “cut themselves off”, going about a routine before locking their doors and almost hibernating, Then there’s an element that accelerates this behavior, say a traumatic incident or accident. This is all at the center of a new psychological thriller set in one of the world’s biggest population centers, London. Even though it focuses on a “flat” that’s the home of two sisters, a deep loneliness haunts the one named CORDELIA.


Oddly, our introduction with her is when she sweetly gives up her seat on a packed subway train (over there it’s “The Tube”) to a standing blind passenger. It turns out that this is a “flashback dream”, one that’s more of a nightmare, which causes Cordelia ( Antonia Campbell-Hughes) to wake up with a muffled scream while drenched in sweat. Her twin sister Caroline rushes into her bedroom, pulls back the curtains to let the sun cleanse the space, and offers to draw her bath. She remarks about the cello solo that wafts in from the upper flat, a sound that seems to soothe the still frazzled Cordelia. She bids Caroline adieu, puts their cat Hunter outside, and walks briskly to a theatre near Covent Garden where she’s an understudy in a new production of “King Lear” (as Cordelia, ‘natch). While grabbing a spot of tea, she sees a handsome young man toting a cello case. He recognizes her since he’s her upstairs neighbor Frank (Johnny Flynn). They meet for drinks later that evening and share a cab back to their building. After heading to their respective flats, she is caught off-guard by a caller who hangs up on her “landline”. As Caroline is spending the weekend with a new beau, Cordelia calls on Frank for protection after a voice on a later call asks why she’s closed her drapes (it’s a slightly below ground-level space). Frank finds nobody “creeping about” and tries to comfort the haunted young woman. Thus begins a tentative romance, one that may end abruptly if they reveal the secrets that help them survive another day and keep their inner demons at bay.

The very complex and demanding title role is superbly brought to life by the talented Campbell-Hughes. It’s difficult enough to play twins, though Caroline is absent for the last hour or so, she makes us believe that she’s two sisters with distinct individual personalities rather than merely “talking with herself” aided with a bit of subtle VFX trickery. But the “meat of the tale” rests with Cordelia, who Campbell-Hughes first conveys as a fragile, timid flower who just might break apart when a strong wind swoops in. Slowly we see her stand straight, rather than being stooped over in advance of crouching into a “ball” to brace herself against the pummeling of everyday life. And just when we think of Cordelia as a mousey victim, an inner switch is “flipped” and she’s a snarling, sexy “beast” looking to pounce on her tormentors. To a lesser degree, Flynn’s Frank also has a moment of metamorphosis as the sensitive rom-com “dreamboat’ from upstairs is revealed to be a man of mystery, as he begins a game of passive-aggressive courting with Cordelia. Is he the noble protector or could he be a master manipulator? But, this isn’t a two-person character study. Michael Gambon has a nifty cameo as Caroline’s addled, chatty elderly neighbor, while Joel Fry is the new boyfriend who just can’t wrap his mind around dating a twin (or perhaps he’s hiding some filthy fantasies).

Adrian Shergold directs the film with several interesting visual flourishes, making good use of the main “maze-like” flat, following Cordelia as she often switches personalities mid-stride. The script he co-wrote with title star Campbell-Hughes, doesn’t “lay everything out”, instead it doles out backstories in small chunks, encouraging the viewers to piece everything together. And though most of it is in the twin’s home, the film never feels claustrophobic, although the story is opened up (sadly, a train trip to the country just feels like a “wheel-spinning” interlude). The London streets and neighborhoods look splendid, especially a trek about the theatre district (perhaps a few more scenes of Cordelia at work would reveal of bit more of her wounded persona to us). And as I noted the performances are strong, but unfortunately the final act feels far too abrupt, leaving several threads hanging, and making us ponder the reality of what preceded it (Cordelia is the epitome of the “unreliable narrator”). But if you’re looking for a thriller that’s a real “slow burn” with a duo flipping back and forth as prey and predator, then CORDELIA may just be your cup of somewhat curdled tea.

2.5 Out of 4


CORDELIA opens in select theatres and can be streamed on most apps and platfroms as a Video-on-Demand beginning on Frdiay, May 20, 2022

LAST NIGHT IN SOHO – Review

Anya Taylor-Joy stars as Sandie and Thomasin McKenzie as Eloise in Edgar Wright’s LAST NIGHT IN SOHO, a Focus Features release. Credit: Parisa Taghizadeh / © 2021 Focus Features, LLC

Great set designs and cinematography. Moments of innovative direction by Edgar Wright. Superb performances from the two leading actresses – Thomasin McKenzie and Anya Taylor-Joy. All of that frittered away because Wright’s screenplay begins with an intriguing premise before wandering everywhere but into the realm of coherence.

McKenzie plays a country lass who realizes her dream of acceptance into London’s best fashion school, where she plans to develop her designs based on the swinging 1960s, which was when her late mother thrived for a while before losing her marbles. She’s immediately dissed by the school’s “Mean Girls”, causing her to leave the dorm and find a room in an old woman’s (Diana Rigg, lamentably in her last role) even older, run-down house. She begins having visions of the glamorous times in that neighborhood from the era she worships, including Taylor-Smith’s role as a gutsy aspiring singer. It all looks so glamorous until it turns dark, and the lines between past and present start blurring to McKenzie’s growing fear and desperation.

The rest of the plot simply descends into sub-standard horror fare that wears out its welcome long before the sweet relief of rolling credits. But before then, the two stars shine bright. McKenzie’s an Audrey Hepburn-like babe in the woods, bringing a joyful, wide-eyed optimism to the big city before it starts crushing her. Taylor-Joy’s character is a brash wannabe who thinks she’s on her way to the top in the nightclub scene until she starts to find the rot beneath the glitz.

Perhaps the best reason to consider watching is Wright’s brilliant deployment of mirrors to show McKenzie’s perspective as a mute witness to past events that may or may not have actually occurred. Truly some award-worthy visuals in those moments. Many will also be delighted with the score that plays such a major role beyond creating atmosphere. If only the script could have remained as interesting as those specific elements.

Two Out of Four

LAST NIGHT IN SOHO is now playing in select theatres

THE NEST (2020) – Review

With the start of Autumn just a few days away, it’s time to get serious at the cinema. Though with this year’s unique (to say the least) circumstances we didn’t get much in the way of escapist “popcorn” flicks this Summer. But the big awards films are beginning to trickle in, and so we’re given this somber drama all about the “unraveling” of a marriage. At this time last year, the Netflix-produced feature, appropriately titled MARRIAGE STORY, ended up with many such trophies as it told the tale of the “uncoupling” of a duo (with a son). It did deal with the reasons for the “break”, mainly one half’s ‘loss of individual identity” along with the element of infidelity. That’s a big reason for splitting in most dramas, along with abuse (substance and physical/verbal). But, the movies haven’t often dealt with a big reason for marriage tension, one that usually lands in the top three “conflict causes” in polls and surveys: money. Or mainly financial management, as the “monthly budget” becomes the “weak link” in the family “chain”. And in this case, “filthy lucre” ignites a flame that threatens to consume THE NEST.


It’s the mid-1980’s and transplanted Brit Rory O’Hara (Jude Law) seems to be living “the good life”. He’s running the household in the suburban US while his gorgeous “Yank” wife Allison (Carrie Coon) manages a stable/equine training center (she’s also an instructor there). They have a good-natured ten-year-old son Benjamin (Charlie Shotwell) who loves playing soccer with his pals and Dad, and they’re raising Alison’s teenage daughter from a previous relationship, Samantha (Oona Roche), who’s an aspiring gymnast. Ah, but it’s not really enough for Rory. And so he drops a “bomb” on his wife as he wakes her with her morning tea. They’re going to move…to London. Allison’s blindsided as they’re been in four different houses over the last ten years. Ah, but this is different since Rory’s old financial guru boss wants him to run a new branch (Rory was quite a commodity brokerage wiz). And he moved to the states so she could be near her family, after all. So, while Rory sets things up “across the pond”, Allison packs up the kids and even ships her personal beloved horse Richard. They’re reunited when a cab brings the trio to the new digs Rory has rented: a plush farm/estate in Surrey. It’s hundreds of years old and massive. But there’s a big soccer field for Ben, and contractors are hired to build a stable for Richard (Allison may open her own equine business. Everything seems to be going well, but work’s not increasing at the firm as quickly as Rory hoped. Then the utilities are shut off (non-payment) and the carpenters don’t show up (ditto). Has Rory been truthful about this “new start”? Will the kids fit into these fancy schools? Are the O’Haras “in over their heads” culturally and financially?

The downbeat family fable rests on the very nuanced performances of the lead duo. Law plays on his still-dashing leading man looks to give us a compelling take on the “alpha dogs’ of the Reagan era, a man who’d be striving to get the attention of a Gordon Gecko, perhaps even emulating his style. Rory seems to believe his charisma and charm can still propel him to the very top even as he tries to control his career frustrations and keep his marriage “on course”. If only his spouse didn’t see right through his puffery and empty bravado. Coon builds on her impressive TV and film resume (still think she should’ve gotten an Oscar nom as the sister in GONE GIRL) with her focused confident and hard-hitting work as Allison. She shows us the conflict in her, putting on the supportive brave face for Rory, trying to keep the family working, but preparing herself for the worse. A heart-wrenching tragedy mid-story bolsters her courage, calling Rory on his “BS” while trying to nurture her kids. Ben needs her more than ever, even as Sam pushes her away. You can’t take your eyes off Allison with Coon’s electrifying turn. As for their kids, Roche subtly slides from approachable older sis to a snarky hellion determined to “go off the rails”, while Shotwell exudes a sweet vulnerability as Benjamin, who can feel the parental tensions more than they think. There are several engaging supporting players at Rory’s work, particularly his old pal Steve whom Adeel Akhtar plays with a weary affability, happy to see his old “mate” but leery of his affectations, and the big boss Arthur Davis (Michael Culkin) who seems to enjoy having his “attack dog” Rory back at his side, but is quick to crack the whip when he crosses the line, seething as he calls him “Sunny Jim’ through clenched teeth. The big scene-stealer (only one scene, but it’s a “corker”) is Anne Reid as Rory’s disenchanted Mum (he has told all that his family is gone) who is exhausted from his empty promises and denies him the warm maternal embrace he believes he’s owed.

Welcome back Sean Durkin, who has directed and written his first feature film since his debut in 2011 with the haunting MARTHA MARCY MAY MARLENE (he’s worked in the last few years on the TV mini-series “Southcliffe”). He builds on his strengths with quiet staging that lingers long after the final fade-out. Like that former film, he permeates the atmosphere of every setting with a feeling of doom and dread, all while subtlely foreshadowing the big conflicts. When Rory makes the move announcement Allison immediately commands him to perform a sexual impossibility. Later, upon minutes of arrival, she unpacks at the “palace” and scurries about looking for a place to hide her jewelry box that is built with a “fake bottom” for hiding her cash stash. Durkin doesn’t shy away from the more brutal and brittle scenes of passive aggression as when she torpedoes his idea for a “city flat’ and follows it up with a truly unpleasant Lunch (a later Dinner with potential clients is even more volatile). I only wish the film were a bit more cinematic, breaking up some scenes with more close-ups and medium shots allowing us to watch the actors’ body language and expressions. And I understand that the ’80s were a different time, but I found Allison’s relentless chain-smoking tiresome and more than a little nauseating (off my soapbox now). The plot may not be the uplifting sort of tale that many filmgoers hope to experience, and more may feel frustrated by the “open-ending”, but the performances by this superb cast make THE NEST an engaging if somewhat depressing look at a family shaken to its core.

3 out of 4

THE GENTLEMEN – Review

As THE IRISHMAN begins the home stretch to the Oscars are you in need of another mob movie fix? Like Scorsese, this director has a history of flicks about the “thug life” featuring guys and goons that can “lean” on anybody that gets in the way. Well, this is one quite a bit different as it’s not set on the mean streets of East Coast USA, but rather in swinging (like a pendulum do’) London, so it’s got an international flavor. Plus this flick expands past Picadilly into the country estates and castles (hitmen at Downton Abbey. oh dear). So it involves the elite, but people who don’t fret about getting blood spilled on those custom-tailored suits and gowns. Yet, somehow most of the world believes that these “goodfellas'” can still be called THE GENTLEMEN.

After a brief flashforward involving one of the plot principals, the story really begins on a dark night as Ray (Charlie Hunnan) discovers a most unwelcome visitor lurking in the shadows of his plush home. It’s a sleazy P.I. named Fletcher (Hugh Grant) and he’s got a business offer. He’s just finished a job for “Big” Dave (Eddie Marsan), editor of the popular tabloid the Daily Print, digging up lots of “dirt’ on Ray’s boss, “cannabis king” Mickey Pearson (Matthew McConaughey). But Ray can buy it all from Fletcher before it sees print. Of course, Ray needs a hint at what he’d be buying. We get the backstory on Mick: born to poor parents in Florida, USA he wins a Rhodes Scholarship at Oxford, where he balances his studies with a lucrative pot-selling “side hustle”. He amasses a “weed” empire, deciding to put down roots in the UK by marrying the gorgeous Rosalind (Michelle Dockery). They rub elbows with the highest of high society, which answers one of the mysteries about him. Namely, where does he grow and produce his “primo” product”? He attracts the attention of another rich Yank, Matthew Berger (Jeremy Strong), who intends to buy the operation. Luckily Mickey wants to start a family, so after naming a hefty price tag he lets Berger in on the big secret. Mickey has made deals with the cash-strapped “upper-elites” (the Earls, Lords, etc.) to set up underground greenhouses on their secured properties. Mickey even takes Matthew to visit one. Then word leaks out about Mickey’s retirement. An ambitious young mobster from the East, Dry Eye (Henry Golding) makes an offer that’s is quickly rejected by Mickey. Then that secret “bush” locale is hit by a bunch of young thugs. Throw in a tough boxing coach named, well, Coach (Colin Farrell), and the drug-addled daughter of royalty, and it’s starting to look as though Mickey will never “get out”. But just how much evidence does Fletcher have? And will Ray convince his boss to buy it?

A stellar cast has been assembled for this crime caper with Oscar-winner McConaughey front and center as the American who’s just as sophisticated and cultured as any of the native brits (well, really more so than most in this tale). He seems to be channeling more of this TV ad persona (you’ve seen those baffling car ad in which he’s featured) than most of his screen work (Mickey is almost the inverse of the yahoos in GOLD, MAGIC MIKE, and even DALLAS BUYERS CLUB). He’s smooth as silk, only creasing his GQ ensembles when someone disrespects him. Or when he’s around his wife. Much like Gomez in THE ADDAMS FAMILY his Mickey is hopelessly enamored of the ravishing Rosalyn played with a smoldering tough sensibility by Dockery, who seems ecstatic to be out of the Downton finery. Another “happy camper” is Grant who can barely contain his joy in being cast as the skeevy, pervy (his threats to Ray are mixed with aggressive flirtations) private eye. He flits about the screen like a mischievous imp as he spins a tale of double-crossing and deceit. Farrell is quite entertaining as the gruff, no-nonsense Coach who only gets his hands dirty in order to protect his beloved “lads”. Speaking of dirtying your hands, Goulding appears to relish his turn as the scowling, always plotting Dry Eye, who seethes as he’s denied a seat at the “adults’ table”. Strong scores as the somewhat foppish (not quite the fashion plate as Mickey), but dangerously brilliant (at least two steps ahead) Berger. And as Mickey’s #1, Hunnam is everything you’d want in a right-hand man, though he’s got a real cleanliness mania, whether it’s Fletcher removing his shoes or having to go into a high-rise drug “nest”. Filth is this tough guy’s Kryptonite.

This flick marks sort of a homecoming, or at least a return to his roots, of director Guy Ritchie, who also wrote the screenplay with a story assist from Ivan Atkinson and Marn Davies. In the dozen years since ROCKNROLLA Ritchie has bounced about from the RDJ Sherlock HOLMES franchise, to franchise wannabe THE MAN FROM U.N.C.L.E., to the darned near-unwatchable KING ARTHUR: LEGEND OF THE SWORD, to last Summer’s fairly sanitized ALADDIN (though not the worst of the live-action reboots). He’s back in his “comfort zone” and his “home turf” as he keeps the action zipping briskly along while throwing us many unexpected curves and bits of inspired hilarity (Old MacDonald will never sound the same). Ritchie even throws in some satiric jabs at his own profession as Fletcher indulges his own cinematic aspirations (he includes a screenplay in his blackmail package). And he still has a taste for film making flourishes, slowing down the actions, speeding scenes in reverse, along with creating a rap music YouTube street-fighting video. Sure he still peppers the script with “F-bombs” (and being in the UK there are “C-bombs”) and blood, though he saves the gore to make the most impact. And there’s even a nice tribute to the recently departed, much-missed “Mr. Creosote”. Needless to say, the fancy mansion and wardrobes are quite dazzling. To sum things up, THE GENTLEMEN is an unpredictable, most welcome return to the lowlife and high-class law-breakers in Guy Ritchie’s London underworld.

3 Out of 4

THE SONG OF NAMES – Review

People today (well always but more so now) really enjoying having lots of choices, be it food (as in buffets and food courts) or in entertainment. And with the latter, we’re talking the multiplex which often presents several types of films, or genres if you want to sound “fancy-schmancy’, from comedies to family flicks, to, well, this week’s unique mix. That’s because this new film is tough to “pin down”, so it may be a multiplex in itself. It’s a musical (in a way), an historical drama, a mystery, a look at faith and religion, and a “coming of age” buddy film (perhaps close to that more modern flick, the “bromance”). Somehow all those themes and elements come together in the film strangely named THE SONG OF NAMES.

It all begins with a flashback to 1951. It’s moments before the big debut of 21-year-old violin virtuoso David Rapoport at a London concert hall. But the concert producer, classical music impresario Gilbert Simmonds (Stanley Woodward) is worried. The hall is packed but the star is missing. His young son Martin shares his concern as he can’t locate his childhood pal. Finally a crestfallen Gilbert takes the stage to cancel the event. Flash forward 35 years as the now middle-aged Martin (Tim Roth) bids goodbye to wife Helen (Catherine McCormack) as he travels to judge auditions for a prestigious music academy (he’s following in his father’s footsteps). A young violinist grabs his attention when he uses a rosin ball on his bow, then gently kisses it before beginning to play, a ritual he recalls David doing. Later Martin asks the young musician whether he had a special tutor or teacher. This sets Martin on a globe-trotting quest to find David, whom he’s not seen since that fateful concert “no-show”. As he begins his travels, his mind drifts farther back to his first meeting with David in the later 1930’s. Then called Dovidl (Luke Doyle), the pompous prodigy (“I am genius”) auditions for Gilbert in his Whitecastle home, accompanied by father Zygmunt Rappaport (Jakub Kotynski). They can’t afford a fancy school, but Gilbert agrees to take in Dovidl and raise him in the Jewish traditions (foods, fashions, etc.) while his papa returns to the family in Warsaw, hoping he can protect them from the increasingly aggressive forces out of Nazi Germany. This irks young Martin (Misha Handley), but the clashing personalities eventually mesh almost into brothers. Their friendship survives the great war, the bombing raids, and the teen years as Martin (Gerran Howell) becomes a manager to the talented artist, now known as David (Jonak Hauer-King). When Martin does track him down, David, now Dovidl once more (Clive Owen), reluctantly agrees to a “make-up” concert. But will he really perform? And just what sent him away all those years ago?

In a rare leading role the always compelling Mr. Roth brings a focused intensity to the single-minded Martin. Equal parts detective and reporter he brings a dogged determination to his quest, never letting a stern “No!” or a slammed door deter him. In contrast, he’s the ideal husband while on his “home turf”. Fortunately, Roth has a couple of excellent scene partners, especially with Owen as the middle-aged Dovidl, though he doesn’t appear until the beginning of the film’s third and final act. He’s somber and more than a bit melancholy though he refuses to apologize for his past actions while agreeing to “put things right” as a tribute to his late surrogate father, Martin’s dad. He still has a fierce pride in his talent which Owen hints at as he seems to go into a “trance” when he creates near-magical melodies with his strings. Roth’s home-based “rock’ is McCormack as wife Helen who supports her hubby completely, but can’t quite hide her still smoldering anger for Dovidl. Townsend brings a quiet dignity to the warm, nurturing father to the lads, Gilbert. And while he remains a professional at that concert, his sad eyes can’t hide his heartbreak. As the younger versions of the leads, Doyle really projects annoying egomania as young Dovidl, while Hauer-King brings a rebellious “bad boy” vibe to teen David. Handley, as nine-year-old Martin, pouts and taunts but finally bonds while Howell as his young adult self is all-business while advising his “brother” to loosen up (a suggestion he’d come to regret). Plus the film treats us to terrific cameos by screen vets Eddie Izzard and Saul Rubinek as a BBC radio announcer and an NYC violin expert, respectively.

Director Frances Girard is no stranger to the world of classical music, having helmed THE RED VIOLIN and THIRTY-TWO SHORT FILMS ABOUT GLENN GOULD, so the scenes of Dovidl performing are the film’s big highlights (or like stunts in an action flick). Much of the credit there must also go to the great Howard Shore for his exquisite original score. Unfortunately the film loses focus for the rest of the runtime as it haphazardly bouncing back between pre-1951 and the modern, late 1980s era, with certain side trips that have little dramatic “pay-off”. It doesn’t help that Martin, aside from his quest, just isn’t an interesting well-rounded character. On the other hand, his “brother” Dovidl is often abrasive and stubborn (stealing jewelry from bombing victims) while his adult self seems almost closed off emotionally (until he’s on stage). This all leads up to a final decision by him that seems nonsensical and somewhat selfish (to his new family). Wartime London is expertly recreated, from the fashions to the autos, but THE SONG OF NAMES is not a melody, or movie, that stays with you, despite the skills of those artists involved.

2 Out of 4

THE SONG OF NAMES opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas