Netflix And Chill: Eileen (2023)

The sophomore directorial feature from William Oldroyd (who helmed the fantastic Lady Macbeth almost a decade ago),  Eileen certainly has some comparison points that show what Oldroyd seems to be drawn. There's a very strong-willed woman at the centre of things, there's a sense of some justice being served, albeit not necessarily in the right way, and there's a lot of manipulation. It's an interesting film, but I'm not sure that it's entirely successful.

Thomasin McKenzie plays Eileen Dunlop, a young woman who works at a correctional facility for teenage boys. She's quiet and withdrawn, often placing herself in little fantasies while she kills time during visting hours. Her home life isn't too great either, due to the fact that her father (Shea Whigham) is an alcoholic who keeps getting increasingly paranoid and dangerous. Things take a slight turn for the better when her workplace takes on a new psychologist, Rebecca (Anne Hathaway), and Eileen is soon pleasantly surprised to find herself becoming fast friends with her. Friends can take you on some very unexpected journeys though.

Based on a novel of the same name by Ottessa Moshfegh, who also adapted the tale into screenplay form with her husband, what is here is a dark and intriguing tale of loneliness and pain being exploited by someone who knows how far they can push the limits of someone far younger and weaker than themselves. Everything leads up to a third act that turns truly dark and uncomfortable, but things don't ever settle into a cohesive whole. It's a character study, and it's a look at relative morality, but it falls just short of being great.

Oldroyd directs well enough, and he's comfortable once again with placing his characters in sparse environments that reflect the restrictions and drudgery of their own lives, but he doesn't do anything to help underline any of the main points being made. It would be fair to say that this is a film designed to make viewers ask some hard questions, but it would be equally fair to say that it doesn't even come close to providing any satisfying answers, or even just something that feels like a proper and natural end point for the story and the characters.

It doesn't help that McKenzie (who I have LOVED in other films) is a weak link here. The accent doesn't feel right, which does a lot to unbalance her performance, and she's hampered by the fact that her character spends most of her time reacting to things around her, as opposed to being pro-active in ways that could change her life for the better. Hathaway is a lot of fun in her role, although she often feels as if she's in a different movie from McKenzie. Then you have Whigham, doing fine work, but feeling as if he is in a different movie from both Hathaway and McKenzie. Marin Ireland absolutely kills it in the third act, enabled by material that allows her to give the best performance in the film, and I'm always happy to see Siobhan Fallon Hogan get more substantial roles, even if she is once again only here as a supporting player.

From a purely technical standpoint, there's very little wrong with this. There's just also nothing great about it, which is disappointing. Considering the talent here, on both sides of the camera, I thought this would make a stronger impression. The third act helps it to rise above average, and it certainly tries to be something a bit different, but I doubt anyone will remember it in a year or two. 

6/10

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Prime Time: The Idea Of You (2024)

A rom-com with emphasis on the rom ahead of the com, which is a bit of a surprise coming from director Michael Showalter (who has previously either been balanced towards much more com, or has maintained a very even rom-com equilibrium), The Idea Of You is a fun premise that is lifted by the performances of the two leads, one I am very familiar with already and one relative newcomer who seems to be making hay while he has a couple of years with the sun shining brightly upon him.

Anne Hathaway plays Soléne, a divorced mother who ends up travelling with her daughter, Izzy (Ella Rubin), to a concert featuring THE hot boyband of the moment. Before seeing them onstage, Soléne bumps into Hayes (Nicholas Galitzine), one of the band members. The two get on well, which leads to fun and complications when Hayes decides that he'd like to try and have a relationship with Soléne. Battling against those who are protective of their pop idol, as well as those who think the age gap is ridiculous, our two main characters look to have the odds stacked against them as they try to move towards a happy ending.

Based on a novel by Robinne Lee, adapted into screenplay form by Showalter and Jennifer Westfeldt, this is a film that may well surprise people with the little moments that make it worthwhile. Yes, it's a bit of romantic nonsense at heart, but it's also interesting to watch things play out in a way that highlights the everyday sexism inherent in how things are viewed here, compared to how they could be viewed, both in movies and reality, if the central relationship was a young woman and an older man. Okay, things are a bit undermined by the fact that we're supposed to buy into the idea of Hathaway being viewed as "old, tired, and unattractive", but it's easier to accept those insults being thrown around during the scenes that show the reactions of angry and immature fans.

Hathaway is as likable as ever here, and she tries her best to portray the tiredness and anxiety of her character when pressures are piling up on her shoulders, but she feels cast more for her name than her suitability to the role. I'm in my late forties and Hathaway, despite being at the start of that same decade in her own age, looks about two decades younger than me. That's good for her, but not so good for this specific role. Galitzine, on the other hand, is helped by his useful appearance, looking a bit younger than his actual age. I thought I might find his character a bit annoying, but he has such good chemistry with Hathaway that it was never a problem. Rubin is very good as the understanding teen who eventually struggles to deal with the reality of the situation, and Reid Scott is good at being the selfish, and eventually a bit jealous (of course), ex-husband.

It's fluff, and the very end scenes help to turn it into the fluffiest of fluff, but it's also very enjoyable. There is enough attention to detail to keep the ridiculousness feeling grounded in some kind of reality, the stars deliver star turns, and there are a few moments that will give great satisfaction to anyone who has ever had any kind of dream or fantasy about the situation at the heart of it.

7/10

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Prime Time: The Intern (2015)

I am happy to admit it. When I saw that The Intern was written and directed by Nancy Meyers, and when I saw the poster that had Robert De Niro looking slightly awkward standing alongside Anne Hathaway,  I wasn’t ever in a rush to see it. But it became a film that I kept being reminded of over the past few years, with many people commenting that it is better than you might think.

I have to agree. The Intern is better than you might think. It’s predictable and fairly safe throughout, although that helps the most risqué gag to become even more hilarious when it happens, but it’s sweet and funny, and there are a couple of good points made throughout (about the tougher treatment of successful women and the unfair dismissal of elderly citizens with a lot of life experience to share with others).

De Niro plays Ben, a widower who is a bit bored while trying to fill his days. He sees an advert for a “senior intern” vacancy with an online clothing retailer company, applies, and soon finds himself in the midst of a whole new world. Although, as becomes clear, it isn’t actually THAT new to Ben, considering his work history and the values he holds dear. It may not be the experience he hoped for though, considering the fact that company owner, Jules (Anne Hathaway), isn’t convinced that she needs an intern.

If you think you know how The Intern is going to play out from start to finish then you would be correct. Ben wants to find more from his life, although the satisfaction of doing a good job well remains high on his list of priorities. He also has to learn some new skills to be more effective in the modern workplace. Jules has to accept help from others when she needs it, and has to find a way to strengthen her resolve when others start to doubt her capabilities. There are a couple of fun surprises though, whether they take the shape of the aforementioned risqué gag or an unwelcome character development that will have you hissing at a certain someone as if they were a panto villain.

Meyers may not make movies to suit everyone, especially if you’re not into movies that seem designed more for the entertainment and amusement of women, but there’s no denying that she does what she does damn well. She knows what she is doing, and the final result is always polished and balanced between moments of fun and moments of obvious emotional manipulation. In line with her other directorial features, this is a sweet and optimistic film that feels like a good viewing choice to make during more cynical and dark times.

De Niro is great in his main role here, not having to overdo any comedy as viewers get to see his character being sharper and more capable than people assume. He’s fastidious, he presents some old-fashioned values in a way that manages to convince others of their worth, and he convinces as a valuable asset to the company. Hathaway is very good, although slightly hindered by the trials and tribulations thrown at her character throughout the second half of the film. The two leads make a great team though, complementing one another without immediately realising how well they fit. Adam Devine, Zach Pearlman, and Christina Scherer are other work colleagues (Scherer a standout as a swamped assistant who rarely gets the recognition she deserves), Rene Russo adds some romantic potential, and is always welcome in any movie role, and Anders Holm plays Matt, the “house husband” supporting his very busy wife and looking after their young daughter (a winning performance from JoJo Kushner) for most of every day.

I’ve already written far more about this than required, but this was one of the biggest surprises from my viewing choices last week. Sweet, fun, funny, and maybe even a little inspiring, I would recommend people watch The Intern if they want to spend a couple of hours in the company of a mixed bag of characters all able to make you smile for a little while.

7/10

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The Witches (2020)

I was not won over when I saw the trailer for The Witches, a remake of the 1990 Nicolas Roeg film, one of the most legendarily-terrifying movies aimed at kids, adapted from the book by Roald Dahl. It looked as if it had been completely sanitised, and the choice of Anne Hathaway as the main villain seemed like a bit of miscasting.

Well, while it's worth bearing in mind that it has been many years since I last saw the original movie, this ended up being a decent remake/re-adaptation. The biggest problem it has is that it feels quite redundant. I don't recall anyone crying out for another version of the tale, and the film itself, while very competent, and enjoyable, just never gives you anything to make it more worthy of your time than the previous incarnation, which is now 30 years old.

Witches are everywhere. And they hate children. When our young hero (Jahzir Bruno), actually named Hero Boy, and his grandma (Octavia Spencer) head away for a break at a lovely hotel, they don't realise that their timing could not be worse. The hotel is also hosting a meeting for a number of witches, led by the Grand High Witch (Anne Hathaway). They have a plan for children, and that plan involves turning them into mice. All of them. Our young hero gets caught overhearing this plan, so is immediately mouse-ified, alongside a young man named Bruno Jenkins (Codie-Lei Eastick). Accompanied by a surprise ally, the mice must reach grandma, tell her what is going on, and find out if there's a way to reverse the effects of the potion.

Directed by Robert Zemeckis, who also co-wrote the screenplay with Kenya Barris and Guillermo del Toro, The Witches gets a number of important things right. It keeps things quite scary, especially for younger viewers (parents may want to either check this over beforehand or be prepared for extra-tight cuddles while watching). It transfers the action to 1960s America without losing anything vital to the overall tone or atmosphere. The cast are also a bonus. Bruno does well with his screentime, Spencer is a wonderful grandma, Stanley Tucci is excellent as the hotel manager, and Hathaway is clearly having a lot of fun in her role, complete with an undetermined accent and inability to comprehend people around her who don't give her immediate agreement and compliance. You also get an enjoyable voiceover from Chris Rock.

It's a shame that the main thing it gets wrong is something many can probably guess before even seeing one second of the film. Yes, with Robert Zemeckis at the helm you get an over-reliance on CGI, some of it nicely done and some of it that will make you yearn for some practical effects. I like the depiction of the witches when shown in their natural form (bald, with claws, no toes on their feet, and wide mouths with sharp teeth), but even that serves as a reminder of how great the practical effects were in the 1990 movie. And as for the CGI mice, let's not dwell on those. There's a pretty decent black cat that I was impressed by, and numerous enjoyable little touches here and there, but it's definitely a case of Mr. Zemeckis once again playing with some of his favourite new toys while some old dependables could have worked equally well.

So, unless my memory is blanking out one, we have had three movies in the past decade or so made from Roald Dahl books that had been filmed before. One was quite bad, one was quite good, and now this one sits almost squarely in the middle. I enjoyed it while it was on, but I won't rush to rewatch it, and am now more eager than ever to revisit the version that terrified me when I was young (and I wasn't even that young, being about 15-16 when it was released).

6/10

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Netflix And Chill: The Hustle (2019)

There's a part of me that realises I am being a tiny bit unfair to The Hustle by judging it so harshly against Dirty Rotten Scoundrels, one of my favourite comedies of all time. That film is itself based on an earlier film, Bedtime Story, which I have still not seen. And here we have something that works the premise for a third time, placing female stars in where there were previously men. Those women are played by Anne Hathaway and Rebel Wilson, which may be a mark against the film already for some.

Wilson plays Penny Rust, a small-time con artist who enjoys preying on men and getting them to hand money over to her. She never feels guilt, there's always a point that shows her that they deserved to be parted from their cash. Hathaway is Josephine Chesterfield, a con artist who plans more sophisticated schemes for much greater rewards. When these two cross paths, Josephine tries to send Penny away. Failing at that, she instead opts to train her, using her in some cons that make use of her talents. But there can only be one to really rule the roost, which is when the two bet on extracting a set sum of money from a young tech millionaire, Thomas Westerburg (Alex Sharp).

The feature directorial debut from Chris Addison, who has had a decent bit of practice with TV work over the years, The Hustle is a strange film to judge. Addison, who has been acting onscreen for just over a decade and has been part of some great comedy shows, seems to think that he's landed the perfect leads in Hathaway and Wilson. That's not the case, and it's this wrong decision that constantly threatens to sink the film.

Not that Hathaway is bad. She just doesn't feel right for the role. The same can be said for Wilson. Her con work never feels believable, because she has to spin things further and make them sillier and sillier. Even Sharp, not at all terrible, just doesn't feel right. That's the biggest problem the film has, the cast.

The script has lines to make you laugh, many of the best ones either unchanged, or only slightly changed, from the original script. It's also good when it allows Hathaway to roll her eyes and effortlessly one-up Wilson, but not so good when things feel most adjusted to either cater to a more modern sensibility, or manipulated to be in line with the style of Wilson. There's something about this premise, two con artists who decide to compete in a beautiful location to extract a set amount of money from one target, that lends itself to a timeless quality, something that then makes any talk of apps feel jarring. And the same goes for the many insults Wilson fires at Hathaway, as chucklesome as they sometimes are in their own right.

Perhaps I am being far too harsh, perhaps I am still being too kind to make up for my self-perceived harshness, but The Hustle doesn't ever work. Even the final scenes seem to get things wrong, in a small but very obvious way (to those familiar with the previous take on the material).

4/10

You can buy the movie here.
Americans can buy the movie here.

Noir-vember: Serenity (2019)

Serenity is, in a way, kind of wonderful. It's terrible, and I really can't think of anything I've seen with worse plotting that hasn't been buried in the recesses of the darker pockets of the internet, but it's the kind of terrible that makes you wonder why nobody took people aside at any stage in the film-making process and said "look, this isn't working, we need to start over".

Matthew McConaughey is Baker Dill, a fishing boat captain who enjoys a fairly tranquil life on a small island. He's obsessed with catching a large yellowfin tuna, which he names "Justice", and sometimes even moves paying customers out of his way when the fish comes within catching distance. Things take a turn for the worse when Baker's ex-wife, Karen (Anne Hathaway), approaches him with an offer. She wants him to kill her abusive new husband (Jason Clarke), an act that would improve the life of both her and their son.

Written and directed by Steven Knight, who previously surprised me by making a film about a man driving his car and planning a major concrete transporting job (Locke), this reflects poorly on him, and also everyone involved with it. The script is a mess, with the best moments coming from the scenes that provide unintended laughs, and the direction complements it perfectly. Knight doesn't settle on any style. If you want something dark and shady to match the mystery at the heart of things then you're going to be disappointed. Similarly, anyone hoping to at least get a hot and sweat-soaked thriller reminiscent of Body Heat and The Mean Season will also end up disappointed. In fact, it's hard not to think of anyone who won't be disappointed by this.

The cast at least look as if they're having fun, for the most part. Hathaway is the one with the least to do, despite how she sets the chain of events in motion, and suffers from a script not savvy enough to either drag her down to a sleazier level or keep her above it all. McConaughey is enjoyably over the top, more invested in catching one big sea creature than anyone else I can think of (aside from Ahab or Quint, obviously). Clarke's character is so awful that it's fun to watch him swagger about onscreen and act oblivious to the immediate dislike that others have for him. Djimon Hounsou works well in a supporting role, he's the first mate to McConaughey's character, but the same cannot be said of Jeremy Strong or Diane Lane, who is completely wasted in the couple of scenes that she has.

There may well be individual aspects of this movie that some people end up enjoying. Maybe you like the standard noir idea at the heart of the plot. Maybe you just like McConaughey and/or Hathaway. Maybe you like seeing footage of people on a boat as they wait for a fish to take some bait. Whatever you find to enjoy here, I defy you to hold on to that enjoyment as everything gets sillier and sillier in the second half, leading to a finale that it's pretty much impossible to care about.

I have spent a lot of time since watching this movie trying to think up ways of how I could have turned it into something worse. I am so far drawing a blank.

3/10

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Bonus Review: Interstellar (2014)

It sounds like a cliche, it's the kind of thing that all fans seem to say at one point about their cinematic heroes, but I really wish Christopher Nolan would move back to the smaller movies that he showed so much promise with years ago. Because I DO really like the guy, he always puts moments onscreen that make for great cinema, but he's in danger of taking away every ounce of goodwill that I have left for him. Interstellar is his most unsatisfying movie yet. Like the wildly overpraised The Dark Knight Rises, it suffers from an excessive runtime, a selection of ideas that are never treated as well as they could be, and a real lack of actual entertainment value.

The place is Earth. It's the future. There have been wars. There are environmental problems that affect the growth of crops. It doesn't look good for the future of the human race. One man (Cooper, played by Matthew McConaughey) ends up piloting a spaceship on a mission that everyone hopes will provide a solution, or at least provide an alternative home for the general population. Cooper is accompanied on the mission by Brand (Anne Hathaway), Doyle (Wes Bentley), Romilly (David Gyasi), and a couple of smartass robots. As they venture further into their mission, travelling through a wormhole and dangerously close to a black hole, it soon becomes clear that the most important resource they have is one that they can do very little to manage: time.

Where to begin? Where, where, where? Perhaps I should start by clarifying that my biggest problems with Interstellar don't lie with the science, which many are quick to state is considered to be quite sound. I'm no scientist, so I'm not going to fight that fight, even if I have my doubts about some of the speculation. I will, however, say that the ideas presented here are never explored to anywhere near their full potential, which left this particular viewer frustrated and wishing that Nolan had at least created a film with the full courage of his convictions. He didn't. He sets up what could be an interesting tale of the human spirit flying into the unknown abyss of outer space and then simply neuters the whole thing. Which is a great shame.

Perhaps I'm skipping ahead. My first problems with this movie cropped up within the first few scenes. First of all, Nolan set up a world that I didn't believe in. An Earth blighted by such problems (no military, extra health issues, the potential for mass hunger) shouldn't, in my view, seem like our Earth as it is now, albeit with an extra coating of dust over everything. But this is the world that we're presented with. Then I started to get an idea, an inkling that I knew how things were going to pan out. This was within minutes of the movie starting, mind you. For a movie that clocks in at just under three hours, that's not a good thing. It's even worse when the whole thing plays out exactly as envisioned.

Are there ANY surprises? Yes. Well, it may be better to say that there are one or two decent diversions. I can't go into any more detail because they feature people and situations that you'll enjoy more if you have no advance notice. It's just a shame that those good moments are adrift in a sea of horribly manipulative codswallop, surprisingly lacklustre special effects, and an audio mix that ranks among the very worst I've had to endure from a blockbuster cinema release. Seriously, Hans Zimmer may have enjoyed being given so much screentime to score by Mr. Nolan, but there were times when I would have much preferred to hear what the main characters were actually saying. You may think I'm joking, but there were at least one or two moments when I strained to hear dialogue that was obscured by Zimmer's ruckus.

The film never falls below average, which is unsurprising when you consider just how good at the technical stuff Nolan is. He's also helped by a decent cast, all doing their best to distract viewers from the clumsier elements of the script. McConaughey continues his hot streak, giving a performance that distils all of the best of humanity into one strong-willed protagonist. Hathaway is also very good, somehow able to waver between supporting McConaughey and trying to equal him. Bentley and Gyasi may be given less to do, but both men acquit themselves capably. Michael Caine and John Lithgow both make the most of their supporting turns, while Jessica Chastain once again proves that she'll never stop ACTING her heart out to show you how hard she is ACTING. She could take some notes from Mackenzie Foy, a young actress who steals every scene that she's in.

Many people will love Interstellar. It seems that every film Nolan makes nowadays is able to find a large, loyal fanbase. Who wouldn't want such bankability? I certainly didn't love it, and there were many times when I didn't even like it. It's a mess. It never feels plausible, despite the science all being as accurate as possible (allegedly). It's massively self-indulgent. Worst of all, it never feels like great cinema, even as it clearly strives to prove that it is.

Maybe, just maybe, Christopher Nolan should come back down to Earth. And soon.

5/10

Here's the science part - http://www.amazon.com/Science-Interstellar-Kip-Thorne/dp/0393351378/ref=sr_1_4?ie=UTF8&qid=1415650031&sr=8-4&keywords=interstellar+movie

Hoodwinked! (2005)

The classic tale of Little Red Riding Hood gets twisted to good comedic effect in this animated movie, written and directed by Cory and Todd Edwards (with some assistance from Tony Leech in the writing department).

The film begins with 'Red' (Anne Hathaway) visiting her granny (Glenn Close), only to find that it's a wolf (Patrick Warburton) trying to pass himself off as the grey-haired relative. Then a screaming woodsman (James Belushi) smashes his way into the cottage. The whole situation is one big mess. Although it would seem that the wolf is the main baddie, Nicky Flippers (David Ogden Stiers) is determined to unravel the whole thing and hear the different tales from everyone in order to get to the truth.

Despite the rather crude animation style (well, it's not awful but it's no PIXAR), Hoodwinked does enough to make for an entertaining viewing. The twisted fairy tale may have been played out over the past decade or so, but it can still be fun, especially when made into the form of a whodunnit.

The voice cast all do a good job (I could listen to Patrick Warburton read a phone book and I'd be laughing my ass off), and as well as the main players already mentioned there are roles for Andy Dick, Anthony Anderson, Xzibit and Chazz Palminteri, but the script never feels quite sharp or funny enough to make the most of them.

Of course, Hoodwinked! is aimed at kids and it does a lot right for the target demographic. The bright colours and larger than life characters all appeal (especially a mountain goat cursed to sing constantly instead of talk), everything is cute without being too sickly and there are plenty of easy laughs.

It's not that Hoodwinked! is bad, it's just not great. It's not that clever, it's not hilarious and it's not as technically polished as twenty other animated movies I could name off the top of my head. But stick the DVD on and the little ones will be happy from start to finish, which means that it has succeeded in its main aim.

6/10

http://www.amazon.co.uk/Hoodwinked-DVD-Glenn-Close-Voice/dp/B000JCET3S/ref=sr_1_1?ie=UTF8&qid=1368052139&sr=8-1&keywords=hoodwinked