BRING HER BACK – Review

Just because the Summer movie season is officially in full swing (Memorial Day was last Monday, already), it doesn’t mean that there isn’t room at the multiplex for a daring original (and often brutal) horror flick amongst the family-friendly fantasies and the action “tentpoles”. Well that was the thought three years ago when a spooky Australian chunk of “nightmare fuel’ opened (some might say that it crawled out of the “bad place”) and alerted genre fans to a new pair of suspense cinema siblings, Danny and Michael Philippou. It’s title was really a “command”, TALK TO ME. And now the brothers have another adamant ‘request” for their sophomore effort, which veers a bit away from the supernatural to explore the real horror and caranage (lots of it) that human beings inflict when they pull out “all the stops” to BRING HER BACK.

The directing duo throws moviegoers “off balance” with the film’s monochrome opening images, as though we’ve popped in an old VHS tape that we shouldn’t attempt to view (shades of THE RING). After a few unnerving minutes, we’re back in the present day as a visually impaired teenager, Piper (Sora Wong) tries to interact with her school’s “popular girls”. Thankfully, her seventeen-year-old big brother Andy (Billy Barratt) shows up to take her home before the moment gets too awkward (the girls silently mock Piper). He scolds her for not using her cane, but Piper pleads that it’s too embarrassing to use. Home should be a safe refuge for both, but tragedy awaits when they find their father lifeless on the bathroom floor, having crashed through the shower door. After Dad is taken away by the authorities, the siblings have a meeting with the brusque Wendy (Sally Anne-Upton), the child services supervisor. Andy wants to be Piper’s legal guardian, but he’s months from eighteen and will have to provide a stable home. Luckily, Wendy’s got the perfect foster parent lined up. She takes them to the off-the-beaten-path house of former social worker Laura (Sally Hawkins), who has recently lost her own sightless daughter. It’s a big sprawling place that they’ll share with another orphan, pre-teen Oliver (Jonah Wren Phillips), a mute who silently wanders the yard. Laura seems to be kind and caring, but Andy soon becomes aware of her intrusive and nearly smothering behavior, leading to some tense confrontations. Yet Piper adores her, which puts Andy between a rock and a hard place. Can he get someone, perhaps Wendy, to believe his concerns over Laura’s “quirks” before his sister becomes too attached? Andy wants to leave with Piper, but what bizarre scheme is Laura planning for them?

For this follow-up flick, the Philippou brothers have scored a gifted veteran actress to anchor this twisted tale. And Laura might be the most twisted role of all, perhaps due to the powerful and completely unpredictable performance from Hawkins (hey, she starred in the Oscar-winning horror/fantasy THE SHAPE OF WATER). This “queen mother” appears to be a perfect fit for the just-orphaned duo, though some of her choices are far from the “foster parent manual”, especially has she shares a bottle of booze with her new charges. But that’s the least of her questionable “parenting” decisions. Hawkins commands our attention through the most vile and cruel acts, and keeps us “strapped in’ for the wild “ride”, if only to learn of her final destination. Barrat is the closest character to the horror “hero” as his Andy deals with his regrets over past violent acts, while trying to “sound the alarm” when nothing seems to make sense, especially in protecting his adored sister. But Wong as Piper is no mere “damsel-in-distress” as she tosses off some epic “burns” ( her “favorite activity” answer is hilarious), and pushes back on anyone, even Andy, who tries to pity her. But that fierce independent spirit may place her in greater danger. She erects a tough outer shell to contain her sadness. Also impressive is Phillips as the hovering, staring wanderer. His quiet, sullen stare reminded me of Karloff in THE OLD DARK HOUSE as we wonder if he’s a real threat or yet another potential victim of this haunted, decaying house.

The Philippous built upon the promise of their first flick, giving us a modern fear fable full of shocks and surprises, courtesy of the original story from Danny and co-writer Bill Hinzman. Some might post “trigger warnings” or other cautionary advice. I’ll just say that the scares and sights of TALK TO ME seem very tame to many of the brutal sequences that have been created to make the most jaded “gorehounds” squirm in their seats. This is some rough s…stuff concocted by an expert makeup team, enhanced by some inspired editing choices from Geoff Lamb, punctuated by effective music bursts from Cornel Wilczek. By the harrowing final act showdown, most of our questions are answered in an exhausting crescendo of chaotic carnage. It’s one well-made “thrill ride” that many may never wish to endure again, unless they bring a friend to another screening to revel in their reactions. Aside from the searing set pieces, the Philippou brothers give the entire story a feeling of menace and a sense of moral and physical “rot” while illustrating the devastating after-effects of grief (maybe the story’s true “monster”). For those cinephiles with a strong heart (and stomach), BRING HER BACK is a true nightmare-inducing “chiller thriller”. Consider yourself warned (or perhaps encouraged)…


3 Out of 4


BRING HER BACK is now playing in select theatres

Win Passes To The St. Louis Advance Screening Of BRING HER BACK

With their 2022 debut feature and horror phenomenon TALK TO ME, filmmakers Danny and Michael Philippou established themselves as some of the most exciting new voices in genre filmmaking. Where that movie, in which teenagers chase the high of conjuring spirits to possess them at house parties, was partly inspired by the recklessness they’d experienced as high school students, it was grounded, and elevated, by a very real sense of consequences.

Now, two years after their breakout film, the Philippou’s follow-up is BRING HER BACK, returning the writing-directing duo to an excavation of the horrors of suburban family life that is heightened by the deepest emotional shocks and gnarliest gore of any genre film in recent memory. A brother and sister uncover a terrifying ritual at the secluded home of their new foster mother.

Starring Sally Hawkins, Billy Barrat, Sora Wong, Jonah Wren Phillips, Sally-Anne Upton and more, BRING HER BACK opens in theaters May 30.

The St. Louis screening is at 7pm on Thursday, May 15th, at Alamo Drafthouse City Foundry 

PASS LINK: https://forms.gle/H1eubcdsj6TDMhE37

Please arrive early as seating is not guaranteed.

Rated R.

The Sweet PADDINGTON IN PERU Trailer Is Charming!

Happy Wednesday fellow movie geeks. The first trailer has arrived for PADDINGTON IN PERU!

As you can from the two posters, the film will open in U.S. theaters on January 17, 2025 and will debut in UK cinemas two months earlier on November 8, 2024. 

https://www.paddingtoninperu.co.uk

PADDINGTON IN PERU brings Paddington’s story to Peru as he returns to visit his beloved Aunt Lucy, who now resides at the Home for Retired Bears. With the Brown Family in tow, a thrilling adventure ensues when a mystery plunges them into an unexpected journey through the Amazon rainforest and up to the mountain peaks of Peru.

Directed by Dougal Wilson, PADDINGTON IN PERU stars Hugh Bonneville, Emily Mortimer, Antonio Banderas, Olivia Colman, Julie Walters, Madeleine Harris, Samuel Joslin, Carla Tous and Jim Broadbent. Ben Whishaw and Imelda Staunton both return as the voices of Paddington and Aunt Lucy.

PADDINGTON (2014) grossed $282,463,312 worldwide on an estimated budget of $55 million. In the US and Canada, it grossed $76,271,832 and had an opening weekend of $18,966,676. PADDINGTON 2 (2017) grossed $227.3 million worldwide, with $40.9 million in the US and Canada and $186.4 million in other countries. It had an opening of $11,001,961 in 3,702 theaters.

PADDINGTON 2 received three nominations at the 71st British Academy Film Awards: Outstanding British Film, Best Adapted Screenplay and Best Actor in a Supporting Role, for Hugh Grant.

According to the BBC:

Ben Whishaw will again star as the voice of the marmalade-loving bear, with Aunt Lucy still voiced by Imelda Staunton.

Hugh Bonneville, Dame Julie Walters, Madeleine Harris and Samuel Joslin also return.

But Sally Hawkins has handed the role of Mrs Brown to Emily Mortimer.

Announcing her departure, Hawkins said she “loved” her time making the first two films but it was “the right time to hand the reins over to another”, adding: “One can’t get much better than the truly wonderful Emily Mortimer – she is extraordinarily special.”

Another addition to the cast, Olivia Colman, stars as a guitar-playing nun who works at the Home for Retired Bears. She tells Paddington and co that Aunt Lucy is “on some sort of quest”.

He then embarks on a mission to find her, with the help of a boat captain, voiced by another newcomer, Antonio Banderas. Dame Julie Walters returns as Mrs Bird, in her first film role in three years.

PHANTOM OF THE OPEN – Review

Mark Rylance as Maurice Flitcroft in THE PHANTOM OF THE OPEN. Photo credit Nick Wall. Courtesy of Sony Pictures Classics.

In the charming true-story comedy PHANTOM OF THE OPEN, Mark Rylance plays the worst golfer in British Open history, Maurice Flitcroft, a middle-aged working class bloke who accidentally got into the storied competition, and then became a folk hero for trying to do it again and again, haunting the tournament. Mark Rylance (BRIDGE OF SPIES) and Sally Hawkins (THE SHAPE OF WATER), as Flitcroft’s supportive wife Jean, are both absolute charmers in this very funny yet uplifting British comedy about a very British eccentric who believed anything was possible. Although Flitcroft’s performance in the British Open earned him the moniker “worst golfer in the world,” it actually was the first round of golf Flitcroft had ever played, having just taken up the sport after being laid off from his job as a crane operator, another amazing aspect of this unlikely true story.

No need for an interest in golf to be tickled by this hilarious yet warm stranger-than-fiction tale, but it does help if you are charmed by British eccentrics like the irrepressible Flitcroft. PHANTOM OF THE OPEN features a pair of outstanding British actors who bring the quirky personalities in this unlikely true story to life. Like THE DUKE, another true-story tale about an eccentric Brit that stars a pair of great British actors, Jim Broadbent and Helen Mirren, much of PHANTOM OF THE OPEN’s success rests those great actors leading it. Rylance and Hawkins are indeed marvelous in this appealing comedy, with Mark Rylance’s sweet, unassuming but determined Maurice Flitcroft and Sally Hawkins’ equally optimistic, supportive wife Jean making a very winning pair. The hilarious film succeeds comedically but the story is as inspiring and warm as it is funny, an uplifting, heart-warming story, about the Little Man battling class bias and daring to chase his impossible dreams, no matter the odds.

Underdog comedies like this tend to follow some familiar paths but director Craig Roberts interjects freshness and fun, as well as visual delight, with several comical, charming dream-like fantasy sequences, daydreams where the moon in the night sky becomes a giant golf ball or a smiling Flitcroft is propelled into space by a giant golf club. The fantasy flights are sprinkled throughout the film, adding spikes of color (besides Flitcroft’s comically loud golf attire) and a little magic.

Before playing in the British Open, Flitcroft (Rylance) had only ever practiced his golf strokes on the beach and in makeshift set-ups. Maurice Flitcroft had grown up in a working class family in northern England where everyone was expected to go to work in the mines. Being a pro golfer was not something working class boys aspired to do. But WWII sent the boy off to a country estate, like so many other city children, for his safety from wartime bombings. There the young Maurice was asked a question no one had ever asked him before: what do you want to be when you grow up? The question changed the way Flitcroft saw the world, making him someone who believed in dreaming big, no matter who you are.

Life and love intervened, when he fell for Jean (Sally Hawkins), a secretary and part-time theater director. The likable, easy-going Flitcroft’s dreams now shifted to encouraging his stepson and his twin boys to dream big, while he took work in the mining industry, becoming a crane operator. The twins, Gene (Christian Lees) and James (Jonah Lees), take an unconventional path but grown stepson Michael (Jake Davies) finds success in the business side of mining. When the middle-aged Maurice is laid off from his job, his wife encourages him to finally follow his own dreams. A chance viewing of the British Open on TV sparks the idea that he could become a pro golfer – even though he’s never played the game.

There is something too crazy to be true in this idea but the fact that there really was a Maurice Flitcroft is part of why this film is both so funny and so appealing. Maurice’s practice sessions encourage his belief in himself but he needs access to a golf course. Turned down for membership in the local country club, the plucky Brit enters the 1976 British Open, partly as a way to access a golf course. He doesn’t quite get the significance of his decision.

That Flitcroft gets in is both a mistake and a fluke. Rhys Ifans plays a British Open official, Keith Mackenzie, who is appalled by Flitcrof’ts appallingly-bad performance on the links, becomes determined to keep him out of future tournaments. At home, his stepson James is appalled and embarrassed by his dad’s sudden “fame,” while the rest of the family can’t see a problem.

A kind of cat-and-mouse face-off develops between Rhys Ifans’ gatekeeper official Mackenzie and Rylance’s unstoppable Flitcroft, who tries various ways to sneak back into the British Open, often with the aid of a pal with a shady past. It makes for laugh-out-loud comedy, and director Roberts and the cast make the most of that in some classic-comedy bits. But the director’s imaginative fantasy sequences add a contemporary feel and a touch of magic and magical realism.

Mark Rylance plays this odd character with considerable sweetness and appeal, a man whose determination just can’t be undermined by the facts. Themes about class and snobbery in golf run through this film, as well as a Don Quixote thread, both of which the director and cast handle with a perfect touch which brings out both the humor and a spirit of human hopefulness. In Flitcroft’s world, dreams conquer all, as he repeats little inspirational mantras to himself. His limitless optimism sparks some loopy, creative stunts and wins him admiration from others, particularly amateur golfers.

A complete charmer, PHANTOM OF THE OPEN is light and lively fun, with wonderful warm performances by the marvelous Mark Rylance and Sally Hawkins, and filled with both hilarious moments and warm uplift as well as delightful, colorful flights of visual fantasy.

PHANTOM OF THE OPEN opens June 17 in theaters.

RATING: 4 out of 4 stars

First Look At Teaser Trailer And Poster For SPENCER Feature Kristen Stewart

Here’s a look at the first poster for NEON’s for SPENCER, in theaters November 5, 2021.

Directed by Pablo Larraín and written by Steven Knight, the film stars Kristen Stewart, Timothy Spall, Jack Farthing, Sean Harris, and Sally Hawkins.

The marriage of Princess Diana and Prince Charles has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. There’s eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be profoundly different. SPENCER is an imagining of what might have happened during those few fateful days.

Filming is taking place in Germany and the UK. 2022 marks the 25th anniversary of Diana’s death.

The score is from Radiohead’s Jonny Greenwood.

SPENCER will screen on September 15 as part of the 2021 Toronto International Film Festival Official Selection – Special Events https://www.tiff.net/events/spencer

First Look At Kristen Stewart As Princess Diana In SPENCER

SPENCER – Photo: Courtesy of Pablo Larraín

Principal photography has begun on SPENCER, which focuses on one weekend in the life of Princess Diana, as she spends the Christmas holiday with the royal family at the Sandringham estate in Norfolk, and decides to leave her marriage to Prince Charles.

Filming will take place in Germany and the UK and an autumn 2021 launch is anticipated. 2022 marks the 25th anniversary of Diana’s death.

December, 1991: The Prince and Princess of Wales’ marriage has long since grown cold. Though rumours of affairs and a divorce abound, peace is ordained for the Christmas festivities at Sandringham Estate. There’s eating and drinking, shooting and hunting. Diana knows the game. This year, things will be a whole lot different.

Kristen Stewart (Personal Shopper, Clouds of Sils Maria) is Princess Diana. Cast members joining Stewart include BAFTA Award nominee Timothy Spall (Mr. Turner, The Party), Academy Award nominee Sally Hawkins (The Shape of Water, Paddington) and Sean Harris (Mission: Impossible – Fallout, Prometheus).

SPENCER is directed by Pablo Larraín (Jackie, Neruda) and written by Steven Knight (Locke, Peaky Blinders and Academy Award nominee for Dirty Pretty Things). The film is produced by Juan de Dios Larraín (Jackie, A Fantastic Woman, Gloria) for Fabula Films, Jonas Dornbach and Janine Jackowski (Toni Erdmann, A Fantastic Woman) for Komplizen Film and BAFTA award winner and Academy award nominee Paul Webster (Anna Karenina, Atonement) for Shoebox Films.

‘SPENCER is a dive inside an emotional imagining of who Diana was at a pivotal turning point in her life. It is a physical assertion of the sum of her parts, which starts with her given name; Spencer. It is a harrowing effort for her to return to herself, as Diana strives to hold onto what the name Spencer means to her.’– Kristen Stewart 

‘We are extremely grateful for the support of our distributors worldwide, our partners and funders who have shown tremendous commitment to us in these extraordinary times.  With Kristen Stewart, Steven Knight and the rest of our fantastic team both in front and behind the camera we are bringing SPENCER to the world. It is an independently produced film made for the big screen about an iconic woman’s own declaration of independence. We couldn’t be more excited!’ – Producers Jonas Dornbach, Janine Jackowski, Juan de Dios Larraín, Paul Webster, Pablo Larraín

Larraín’s creative team includes Director of Photography Claire Mathon (Portrait of a Lady on Fire), Costume Designer Jacqueline Durran (Academy award-winner for Little Women and Anna Karenina), Make Up and Hair Designer Wakana Yoshihara (Murder On The Orient Express, High Rise) and Guy Hendrix Dyas (Academy Award nominee for Passengers and Inception) is the Production Designer. Composing the original score is Academy Award, BAFTA and Grammy Award nominee, Radiohead’s Jonny Greenwood (You Were Never Really Here, Phantom Thread).

Executive producers are Tom Quinn, Jeff Deutchman and Christina Zisa for NEON and Michael Bloom, Maria Zuckerman and Ryan Heller for Topic Studios.

ETERNAL BEAUTY – Review

As the days grow shorter and colder, the big prestige dramas will soon dominate the slow trickle of releases as theatres begin to open their doors once more. And though this new film will premiere via streaming services, it harkens back one of the critical and box office hits of last year. Despite its roots in comic book pulp, JOKER was (for much of its runtime) a somber and sobering look at mental illness. Now we’re treated to a gender flip, minus the former film’s considerable body count, set “across the pond” in what appears to be the recent past (guessing the early to mid-90s). Oh, and the story’s main focus is played by the celebrated star of a recent Best Picture Oscar winner. But with its portrait of internal psychological struggle, just how does it concern ETERNAL BEAUTY?

The film begins with a flashback to a day many would consider the most beautiful of their lives. It is the wedding day of young Jane (Morfydd Clark). As she waits with her sisters at the small church in a quaint English village, a limo pulls up. Mum Vivian (Penelope Wilton) and Dad Dennis (Robert Pugh) softly speak to Jane, informing her that the groom is missing. Left at the altar, Jane is whisked back home. Flash forward a dozen or so years. The traumatic incident has taken a devasting toll on her psyche. Adult Jane (Sally Hawkins) must be “checked out” by a stern, taciturn doctor (Boyd Clack) in order to receive her medication and continue to live in a small cramped apartment near his mental health facility. She splits her time between there and his parents home, enduring the taunts of a younger sister, the flashy Nicola (Billie Piper). Oh, and she also spends time with another sister, the supportive and kind Alice (Alice Lowe), who is estranged from their parents and is married to Tony (Paul Hilton), the father of their pre-teen son Jack (Spencer Deere). Jane enjoys being a doting aunt to Jack, but her erratic behavior concerns both Alice and Tony, especially after a minor auto accident. A new prescription may be needed. Jane returns to her doctor and while in the waiting area she meets another former patient, the aspiring rock musician Mike (David Thewlis). After much hesitation, Jane responds to David’s flirtatious inquiries. She even meets him for a “date”. Can these two damaged souls heal themselves with romance and put aside the meds?

Jane’s journey is a showcase for the superb acting skills of Ms. Hawkins. From her opening scenes, she draws us in with her “closed-in” body language, half-lidded eyes, and her soft lilting line delivery. Her Jane is a tragic character, seemingly shuffling through a fog that only envelops her. But somehow Hawkins projects her wry sense of humor (never at the character’s expense). She can brush off the most insensitive dolts with an effortlessly tossed aside insult, with the target baffled at the retort. This is hinted at in the first act as Jane gives her family presents to, in turn, give to her while doling out the receipts for speedy reimbursement. Much like Hawkins’ role in THE SHAPE OF WATER, Jane seems to be otherworldly, particularly as she feels the pangs of new love (though the consummation leaves her baffled and a tad bored). Hawkins has a great “dance partner” for those scenes in Thewlis who tries to embrace the whole “bad boy” rock and roll hellion until his adulation of Jane melts it away. Music seems to be his lifeline, which he shares with her giving Jane a real sense of purpose and joy. This is in contrast to Piper’s Nicola whose glamour gal dazzle is dimmed by her sour disposition. She’s always on the “hunt” for an easy target to foot her bills, whether it’s a “sugar daddy” much older than her own papa or Jane herself, as she tries to “grift the system”. It’s a great villainess role that the former “Doctor Who” TV co-star zealously “runs with”. But then Nicola is her mama’s daughter and Wilton brings a “queen bee” wickedness to her take on the matriarch Vivian. She “rules the roost” berating her disappointing offsprings while doling out “guilt trips” (“I’m not well…it’s bad.”). In the flashback sequences she eagerly pushes her girls into pageants, often slapping those not with “the program” as she manically cackles. But it has cost her one daughter. Lowe’s Alice made her escape, but we see her weariness as she reaches out to help Jane while repressing her frustrations over the family she has “deserted”. This formidable acting ensemble truly “sells this story”.

With only one other feature film “under his belt” director/screenwriter Craig Roberts (also a busy actor) guides the cast expertly as he explores the dynamics of a “working class” family almost split apart by mental illness. He uses no flashy cameras moves or CGI to illustrate Jane’s internal confusion other than letting us hear a voice on the phone that doesn’t exist. The pacing’s a tad sluggish for the first half until Mike’s boisterous arrival (his leering grin almost pops off the screen) leading to some welcome levity and tenderness. But then Jane must plummet back to life as we see in two horrific sequences, a flashback (young Jane is forcibly dragged out of her home by “the men in white”) and a dose of electric shock treatment. It’s tough to take, but the film never gives in to despair. Hawkins’ splendid performance gives us a great insight into those struggling to “make it through” while clinging to the promise of hope. That longing for a better future could be the true source of ETERNAL BEAUTY.

2.5 Out of 4

ETERNAL BEAUTY is available as a Video On Demand via most streaming apps and platforms

PADDINGTON 2, 2018’s Best Film, Opens Friday at The Galleria in St. Louis

“Attention all units: An unusually attractive nun is causing mayhem in the cathedral dome. Activate emergency protocol. Stop that stunning sister!”

It’s rare for a sequel to outshine its predecessor, but 2018’s PADDINGTON 2 succeeded admirably. This Friday, June 26th, PADDINGTON 2 will play mornings for a week at The Galleria Cinema in St. Louis (30 St Louis Galleria St, Richmond Heights, MO 63117) For more info and showtimes, go HERE

PADDINGTON 2 was my favorite film of 1918. Read my complete review HERE

Check Out the New Poster and Trailer for GODZILLA II: KING OF THE MONSTERS


Following the global success of “Godzilla” and “Kong: Skull Island” comes the next chapter in Warner Bros. Pictures’ and Legendary Pictures’ cinematic MonsterVerse: “Godzilla II: King of the Monsters,” an epic action adventure that pits Godzilla against some of the most popular monsters in pop culture history.
The film was directed by Michael Dougherty (“Krampus”), and stars Oscar nominees Vera Farmiga (“Up in the Air,” “The Conjuring” films), and Ken Watanabe (“The Last Samurai”) and Sally Hawkins (“Blue Jasmine”), both reprising their “Godzilla” roles; Kyle Chandler (“The Wolf of Wall Street,” “Manchester by the Sea”); Millie Bobby Brown (“Stranger Things”) in her feature film debut; Bradley Whitford (“Get Out”); Thomas Middleditch (HBO’s “Silicon Valley”); Charles Dance (HBO’s “Game of Thrones”); O’Shea Jackson Jr. (“Straight Outta Compton”); Aisha Hinds (“Star Trek Into Darkness”); and Golden Globe nominee Zhang Ziyi (“Memoirs of a Geisha,” “Crouching Tiger, Hidden Dragon”).

The new story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah.  When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.


Dougherty directed from a script he wrote with Zach Shields.  The film was produced by Mary Parent, Alex Garcia, Brian Rogers, Thomas Tull and Jon Jashni, with Zach Shields, Barry H. Waldman, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira serving as executive producers, and Alexandra Mendes and Jay Ashenfelter co-producing for Legendary.


Behind the scenes, Dougherty’s creative team included director of photography Lawrence Sher, whose past credits include “War Dogs” and “Godzilla,” for which he handled additional photography; production designer Scott Chambliss (“Guardians of the Galaxy Vol. 2,” “Star Trek Into Darkness”); editors Roger Barton (“Pirates of the Caribbean: Dead Men Tell No Tales,” the “Transformers” films), Oscar nominee Richard Pearson (“United 93,” “Kong: Skull Island”), and Bob Ducsay (“Godzilla,” “Star Wars: The Last Jedi”); costume designer Louise Mingenbach (the “X-Men” and “Hangover” films); and Oscar-winning VFX supervisor Guillaume Rocheron (“Godzilla,” “Ghost in the Shell,” and part of the Oscar-winning team behind “Life of Pi”).

 

PADDINGTON 2 – Review

It’s rare for a sequel to outshine its predecessor, but PADDINGTON 2 succeeds admirably. The loveable bear with the blue duffel coat and red hat returns to the big screen in a funny, charming, and occasionally emotional adventure that gives audiences more of what they loved in the first installment…and then some. 2018 has begun well.

PADDINGTON 2 opens with a brief prologue showing baby Paddington rescued by his bear Uncle Pastuzo (Michael Gambon) and bear Aunt Lucy (Imelda Staunton), who permanently postpone a visit to London to take care of him. Jump ahead a couple of decades and Paddington (voiced by Ben Whishaw) is now a permanent resident of Windsor Gardens in London with his adopted family, the Browns (Sally Hawkins, Hugh Bonneville, Julie Walters, Madeleine Harris, and Samuel Joslin – all returning from the 2014 original). The bear is searching for the perfect gift for cherished Aunt Lucy’s 100th birthday and finds it in the form of a unique pop-up book of London’s landmarks at an antique store run by Mr Gruber (Jim Broadbent). But the book is pricey, so Paddington gets a job cleaning windows in the neighborhood, but soon finds himself framed for breaking and entering the store and stealing the book. The real thief is the crafty Phoenix Buchanan (Hugh Grant), a former stage star reduced to acting in dog food commercials who has his own, greedier designs on that book which he’s discovered houses a treasure map.  This leaves the Brown family to try and clear Paddington’s name while the poor bear attempts to adjust to life in prison.

On every level, PADDINGTON 2 is a remarkable work – far ahead of any (mostly) live-action family movie in recent memory. The cast is a who’s who of British thesps and all seem to be having a swell time: Hugh Bonneville is a doting dad who worries too much while Sally Hawkins is his sweet-natured wife, training to swim the English Channel. The background is peppered with folks like Jim Broadbent, Julie Walters, Joanna Lumley, and Peter Capaldi as Mr. Curry, back on his one-man quest to rid the streets of Paddington. Tom Conti shines in one of the funniest slapstick scenes as a judge who’s the victim of Paddington’s first go as a barber and he’s brought back for a couple of punch lines. But it’s the film’s two major new characters that really kick PADDINGTON 2 into high gear. Hugh Grant as Phoenix handily steals every scene he’s in. Whether hawking “Harley’s Gourmet Doggy Din-Dins” or reacting with shock when he realizes he has left home without his favorite ascot, Grant shows comic chops I didn’t know he had. My favorite is Brendan Gleeson who displays brilliant comic timing as Knuckles McGinty, the feared prison chef who bonds with Paddington over their shared love of all things marmalade.

PADDINGTON 2 offers a continuous stream of visual inventiveness, with a palette of bright paint-box colors and clever gadgets (the briefcase Paddington always carries contains nothing but an extending ladder which continually comes in handy). The prison sequences are priceless, eye-popping highlights, with pipes used for secret talks, an escape by a hot air balloon made of tablecloths, and a single red sock that dyes the prisoner’s uniforms pink. Unlike so many movies made “for kids,” PADDINGTON 2 has nothing in the way of gags related to bodily fluids, kid-friendly cussing, or rude behavior (even in prison!), yet it’s funnier than any film I saw last year. It takes a certain level of maturity to maintain this level of sweetness and the scriptwriters deserve a gold star for good behavior. If PADDINGTON 2 had been released a month ago, it would easily have made my list of last year’s best. It’s wonderful.

5 out of 5 Marmalade Sandwiches