Director: Joe Wright
Writer: Anthony McCarten
Stars: Gary Oldman, Lily James, Kristin Scott Thomas
Rating: 8/10
Like most human beings, I am a massive fan of Gary Oldman. I have been ever since I watched Leon and heard him say the word ‘everyone’. So, I feel pretty confident in saying that this is the best performance of his career. It’s so good that it is bigger than the film itself. That is not to say the film isn’t good, in fact it’s really good, but Gary Oldman is on another level.
It is really difficult to say where Winston Churchill begins and Gary Oldman ends. The prosthetics are fantastic, but it is more than that, it’s his stance, his mannerisms and his presence that Oldman gets right. By the time you reach his big speeches you are fully sold that you are watching Churchill and each word feels like another hole in the enemy’s defences.
So, to the actual film, we join Churchill through one of his toughest of period in office. He is surrounded by enemies – not unlike the British troops stranded at Dunkirk who he is trying to rescue. He is under pressure from all angles; his cabinet, the opposition, the military, the people and the palace. Not an enviable position to be in. And many believe he’s not the man for the job. But what this film does demonstrate is that if Winston had not been in 10 Downing Street in 1940 then the outcome of WWII would have been very different indeed.
And this is the other major part of this film – its historical importance. Generations (like me) who grew up hearing about the war, but not living through it, may not fully comprehend the complexities and scale of it all. Films like these are key to unlocking the key points in time where the future of the world truly hung in the balance.
But instead of throwing loads of bullets, special effects and front line fighting at us – like many other WWII films - the Darkest Hour is all about subtlety, nuances and the tough decisions that had to be made under intense pressure. But don’t let that fool you to think there isn’t any action, there is, but it comes at you in a different way. The discussions in the War Cabinet are as tense as any other war film and even though you know the outcome, you are still on the edge of your seat.
This is a very dialogue heavy film and therefore you need good writing to truly convey the tensions and complexities plus keep the audience engaged – because this is entertainment after all. So just like Churchill said himself, words are power.
I must also mention the fantastic Kristen Scott Thomas. Much more of an understated role than Oldman, but just as significant. When Winston is cornered by those vying for his position, his wife Clemmie (Thomas) is his rock, gently guiding him to be the man she knows he can be and the leader she knows the nation needs.
Finally this a great looking film. The cinematography is beautiful and shows us just how isolating and lonely Churchill’s tenure was. The clever use of darkness to emphasise the gravity of the situation and light to symbolise the glimmers of hope, make the whole film feel more like a painting than a film.
So, in summary – go and watch this film. Revel in the superb display from Oldman, absorb the wealth of history, marvel at the cinematography and be proud that this tiny little island came together, stood firm and never surrendered.
Director: Martin McDonagh
Writer: Martin McDonagh
Stars: Frances McDormand, Woody Harrelson, Sam Rockwell
Rating: 10/10
Quite honestly, this is one of the best films I have seen in a long time. I loved it. It was funny where it shouldn’t be, it was challenging where it should be, and it was so absorbing I never wanted it to end. I wanted to stay with these characters as they continued their lives, have a beer and play pool with them then head off to the gift shop to buy one of those little rabbits for $7.
Three Billboards (as it’s known to its friends) is set in a small town in southern America and we join them seven months after Mildred’s (Frances McDormand) daughter has been raped and murdered. As I said, this is small town America where everyone knows each other and nothing much happens, so its fair to say the police have drawn a blank. Mildred is not happy about the state of the investigation and hires three billboards questioning the police chief (Woody Harrelson) on the progress of the case.
This, as you can imagine, causes quite a stir. What ensues is a brilliantly crafted development of all the key characters and how they interact and affect each other’s perceptions and decisions. Each character is as complex as the next, and you really get to know them like you are part of the town. And whether you like or dislike them, they are all human and make right and wrong choices, sometimes on impulse and sometimes calculated. This ensures you never really know what each one is going to do next and when you think you do everything changes.
Standout performances go to Frances McDormand and Sam Rockwell, who I would be surprised if they were not in the running for a little gold statue come March 5th.
McDormand is as brilliant as she always is. I struggle to think of a film she has been in where she wasn’t the best thing in it. Her ability to remain fiercely composed even in the harshest of scenes, coupled with her jet-black comedy timing, make her one of the greatest actresses of recent years. For me this is up there with Fargo as one of her best – and I don’t say that lightly!
On the other hand, we have Sam Rockwell. He plays Dixon – a racist, hot-headed, small town cop who likes to stroll around Ebbing, Missouri thrusting his authority on anyone who will listen. However, he is more complex than this suggests, and his character arc is one of the most intriguing elements of the film. He has great respect for Chief Willoughby (Harrelson) who, in return, seems to back him even when others wouldn’t. Rockwell plays this brilliantly and you will be hard pushed to find a better supporting actor role this year.
Pace wise I would set this film as an ‘ebber’ (no pun intended – ok of course the pun was intended!). It ebbs along nicely and doesn’t rush you but also never feels like it is dragging. It is like baby bears porridge – just right. This is credit to writer and director Martin McDonagh who once again has created a thoroughly absorbing and deeply effective film which will stay with me for some time.
If I am being critical, there was one small part of the film that didn’t sit right with the rest of the film and that was the obvious age gap between Woody Harrelson’s police chief and his wife Anne (Abbie Cornish). Harrelson is 21 years older than Cornish and that was extremely apparent on screen. I’m not saying it isn’t possible for them to be married with kids - far from it - but it seemed more of a Hollywoody decision (meaning Hollywood execs like to cast younger women in relationships with older men – meaning older female actresses end up playing divorcees, like McDormand in this film, or widows) rather than for plot development or as a reflection of the town they were trying to portray.
But this is the only blight on what was otherwise a flawless film. The humour is dark and makes you laugh at the awkwardness of everyday life more than gags and punchlines. And it also can shock you at times when you are least expecting it.
So, hats off to Mr. McDonagh for giving me this masterpiece which goes straight in as my number one for 2018 so far and will be a very tough one to budge.
