Bohemian Rhapsody (2018)

Okay, I cannot really formulate my thoughts on this film in a way that makes sense, but I'm going to try my best to explain myself. A lot of Bohemian Rhapsody is quite rubbish. It is laughable that the film won an Academy Award for best editing, especially when you can highlight some key sequences that wouldn't look out of place in a Paul W. S. Anderson movie. It is a "greatest hits" version of the history of Queen, and the life of charismatic frontman Freddie Mercury. It's a family-friendly rock opera, in a way, with the mix of humour, tragedy, and elation you can expect from such a thing. And yet . . . that doesn't stop it from being a bloody good time. The highlights are absolutely goosebump-inducing, and easily impressive enough to make up for the weaker aspects.

Rami Malek is Freddie, in a performance absolutely deserving of all the praise heaped upon him, as well as his win at the 2019 Oscars. He becomes the lynchpin of Queen, with the talent of Brian May (Gwilym Lee), Roger Taylor (Ben Hardy), and John Deacon (Joe Mazzello). He also develops a life-long relationship with Mary Austin (Lucy Boynton), constantly astounds the band manager (Aidan Gillen) with his vision, and his ability to make that vision into a fan-pleasing reality, and enjoys gently mocking the lawyer that they have in their corner, Jim 'Miami' Beach (Tom Hollander). And, as the start of the film makes abundantly clear (as does the advertising imagery and any trailers you may have seen), it all leads to a legendary live performance at Live Aid in 1985.

Directed by Bryan Singer (but with the whole thing finished in the last few weeks by Dexter Fletcher after Singer had gone AWOL for a while), Bohemian Rhapsody is almost exactly what you want it to be. As long as you want it to be a fun time in the company of Queen. The screenplay, written by Anthony McCarten, is more concerned with keeping viewers entertained and in high spirits than it is with providing a story that feels grounded in the truth. Even the moments that really happened just feel so unreal, so apocryphal, that it never allows the film to feel like anything more than a rocking fairytale.

It's a good job that Malek is uncannily good in the main role, and that you have Gillen and Hollander to look out for, because none of the other main cast members do anything worthwhile. Well, none of the cast members portraying members of Queen anyway. Lee, Hardy, and Mazzello are poorly treated in a storyline that serves as nothing more than a testament to someone they obviously loved. The sad thing is that you get the feeling that everyone deserved something a bit better, even if that meant showing more of the low points and exploring just what would drive the band, individually and together. Boynton is the other person who actually manages to make an impact, thanks to both her performance and the fact that she is the only character in the film given any hint of depth.

Please believe me when I say that I am not being snobbish (and people who know the wide variety of films I watch will know I am no film snob) by saying that this is quite rubbish, and quite rubbish in oh so many ways. Yet, despite the myriad flaws, it's easy to see why it's a crowd-pleaser. You get all of those familiar Queen songs, you get a number of great moments, and you get a finale that is up there with the best I can think of, in terms of making you want to stamp your feet, throw your fist in the air, and vicariously join in with one of the greatest live performances of all time.

6/10

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Darkest Hour (2017)

Although both films are about a small, plucky bunch looking for a way to defeat a dark force that can often seem undefeatable, this is not a remake, or connected in any way, to the 2011 film starring Emile Hirsch. That was called The Darkest Hour, you see, and this is just called Darkest Hour. Although I am all for some crossover in the future that sees Churchill and co. fighting against invisible alien invaders.

Yes, in case you weren't already aware, this is a film about Winston Churchill, arguably the most famouse Prime Minister in history, as well known for his cigar-smoking and portly figure (think Hitchcock with a bow tie on) as he is for his quotes and speeches, with one in particular being the event that this whole film revolves around.

Directed by Joe Wright and written by Anthony McCarten, this is a slight step down for the former and a slight step up for the latter (can we all agree now that The Theory Of Everything, the previous film written by McCarten, wasn't THAT good?). About as solid as you can get, in terms of detail, performances, and the oh-so-Britishness of it all, there's no denying that the events shown here are very important, in relation to both Britain and the shape of the modern world, but it can be very hard to make the dusty, archaic environment of Westminster seem lively and cinematic. Let's face it, the general public have often seen snippets of political debates on TV and wondered how many of the MPs present could be diagnosed with early onset rigor mortis.

Thankfully, the cast help to make this more watchable than it otherwise would be. All the praise being heaped on Oldman, always worth your time in movies, is justly deserved. He's absolutely brilliant in the main role, nailing the attitude and determination of a man who, at times, had everyone rooting against him. Kristin Scott Thomas is supportive and good enough as Clementine, AKA Mrs Churchill, but she's given very little to do. The same goes for Lily James, playing a young secretary/worker who is given a second chance after an initial meeting with Churchill that doesn't go well at all. Faring much better from the script are Ben Mendelsohn, giving yet another superb performance as King George VI (that there fella who was the focus of The King's Speech), Stephen Dillane, and Ronald Pickup (playing Neville Chamberlain, the Prime Minister preceding Churchill). Politics was very much a boy's club back then, and this is reflected in the characters involved in the main strands of the story as it all winds towards THAT speech.

It's a shame that other aspects don't work as well as the performances. The script has a lot of great dialogue to work with, as you would expect, but falls down somewhat when trying to emphasise the pressure on Churchill, and the momentum that he needs to build in parliament. And a couple of weightier moments are resolved in a way that somehow feels like a bit of a half-hearted shrug. Despite the runtime just creeping over the two hour mark, it feels as if this is a film that could warrant an extra 15-20 minutes, but then you have to wonder if that would make the whole thing feel like a painful crawl. Wright does a capable job, doing what he can to keep things respectable while also engrossing and entertaining. There's just one or two elements that hold this back from being a great movie, despite that lead performance towering over everything.

Worth your time, as long as you know exactly what type of film you're getting. Just don't go into it expecting a reworking of that Emile Hirsch movie.

7/10

Order the bluray here.
Or, if in America, here.

The Theory Of Everything (2014)

It's a biopic. It's British. It features someone striving to battle a debilitating disease. And the lead performance is one that could be called transformative. Yes, The Theory Of Everything is one big chunk of tasty Oscar-bait. That doesn't mean that it's great.

Eddie Redmayne stars as Stephen Hawking, arguably the most famous scientist of the 21st century. When diagnosed with Motor Neuron Disease, at the age of 21, he was only given about two years to live. That was in 1963. This film shows his life, from horsing around with his university chums to meeting Jane (Felicity Jones), the woman who would become his wife, and developing his theories on black holes, time and our entire universe. It is a potted history of someone who has changed the way we view both outer and inner space.

Adapting the book written by Jane Hawking, Anthony McCarten takes all of the moments that you'd expect to find here and places them exactly where they should be. There's a distinct lack of imagination and flair on display here, with the exception of one or two pleasant surprises. Overall, the film has the air of a TV movie, albeit one with a sizable budget.

Director James Marsh seems content to let his cast take on the heavy lifting, as it were, and translates the screenplay by McCarten into equally lacklustre visuals. You get snapshots of the English countryside, there's a fitting score that's always ready to swell whenever an emotional moment needs highlighted, and any bad feelings are hastily covered over or thrown into the back of a pantry, where they are left to grow and fester until they can no longer be ignored.

There's no denying, however, that the cast DO elevate the material, with Redmayne giving quite a superb physical performance as Hawking. He's cheeky, charming, stubborn, pained, and much more besides, often all at once. Jones also does very well in her role, although she suffers from the fact that her character is landed with most of the heavy-handed, emotional fare. Sorry, that should say "most of the heavy-handed, EMOTIONAL fare". David Thewlis is a delight in his supporting role, playing a teacher who also becomes a friend to Hawking, Charlie Cox is nice enough, and Maxine Peake livens things up slightly in the last third of the film, playing the nurse who would make Hawking lovestruck again.

The Theory Of Everything is a pretty poor film. It's predictable, it's bland, and it doesn't even feel as if it goes deep enough into the minds of the main characters. Those central performances help to lift it just above the realm of average, with Redmayne doing such a great job that I wish he'd had a better movie to star in.

6/10

http://www.amazon.com/Theory-Everything-Blu-ray-DIGITAL-UltraViolet/dp/B00QFSIIFK/ref=sr_1_1?ie=UTF8&qid=1419928566&sr=8-1&keywords=the+theory+of+everything