The Bride! (2026)

On the one hand, kudos to Maggie Gyllenhaal for taking such a bold approach to what you could arguably classify as the full-bodied legacy of Mary Shelley. On the other hand, maybe she should have taken some more time to ensure that her bold approach and mix of ideas could be bundled up into something that would work as a satisfying and cohesive movie experience. This absolutely fails, and the bigger failings help to obscure any of the more praiseworthy elements.

Christian Bale plays Frank (the monster, having taken the name of his creator). He walks into the workplace of Dr. Euphronious (Annette Bening) and asks for her help in creating a companion. He's desperately lonely, and so unique that only another creation similar to himself will offer him any hope of a relationship. Enter the corpse of Ida (Jessie Buckley), a woman who ended up being shot by horrible gangsters mere moments after she was possessed by the spirit of Mary Shelley (also portrayed by Buckley). While struggling to figure out whether or not they can have any kind of proper relationship, especially when trying to accept how it has all begun, Ida and Frank quickly become a notorious pairing, for their unique look and their behaviour. Seemingly unable to stop calling attention to themselves, although often due to calling out the behaviour of others, Frank and The Bride soon find themselves pursued by strangers, determined police, and some gangsters who are very surprised to see that Ida has somehow not stayed dead.

While a very divisive movie, I know there are some people out there who have really liked this. I don't know many of them, but I know one or two. So it works for some people. And I can see some of the appeal. It's very admirably bonkers, almost punk in the way that it makes use of some famous genre archetypes to crash through some other archetypes, all while commenting on misogyny and the constantly overlooked misbehaviour of men. Just typing out that sentence has made me wonder if I am about to be too harsh on the thing. But, alas, no. The ingredients aren't mixed together well enough, and the social commentary is picked up and dropped so casually that it may as well be a toy discarded by an over-stimulated child.

I guess that some of the visuals work, and the cast is full of considerable talent and/or people that Gyllenhaal knows well enough to get on board, but the overriding feeling is that this is a feature barely shaped into a tolerable form by someone seriously overreaching.

Some people appreciate the performance from Buckley, especially when considering the variety of personas that she ends up portraying, but I thought it was never nailed down. Perhaps that is the fault of the screenplay and direction, but Buckley certainly suffers most from the material given to the leads. Bale is okay, if a bit disappointingly low-key. The most interesting main character is actually portrayed by Bening, which makes it all the more frustrating when she is so underused. Jake Gyllenhaal brightens things up a bit with his role, playing a movie star from the era, but I cannot say the same for either Peter Sarsgaard or Penélope Cruz, who are disappointingly weighed down by the fact that their characters are more avatars carrying around some of the central themes than proper characters.

Some may love this, and I am glad that the movie exists for them. I suspect that most will dislike it though, and many will absolutely hate it. I find myself closer to that last grouping, and it's only the ambition and confidence of Gyllenhaal, however it was improperly channelled, that has me rating this just a bit higher than I otherwise would. 

4/10

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Netflix And Chill: The Lost Daughter (2021)

Marking the feature directorial debut of Maggie Gyllenhaal, who also adapted the novel of the same name by Elena Ferrante into script form, The Lost Daughter is very much a film looking at an experience common for most of the female population. It's about motherhood, the expectations placed on women to be the main care providers for children, and the thoughts that people process when they see those expectations being dismissed, either intentionally or unintentionally.

Olivia Colman plays Leda, a professor out to enjoy a bit of a working holiday. She will do some reading and writing, but most of her studying can take place on a sunny beach. Potential peace and bliss is spoiled, however, when a large family take over part of the beach. They aren't nice people, apparently, but Leda refusing to give up her own spot on the beach makes her a curiosity. In turn, Leda cannot stop watching young Nina, a woman struggling with her own daughter. When Nina's daughter goes missing one day, Leda saves the day by finding and returning her. But the child is unhappy, her favourite doll having gone missing while she was on her wanders. Different tensions rise, within Nina, within the extended family, within Leda, and there's a sense that things may go very badly. Perhaps the present is connected to the past, which we see as a younger Leda (played by Jessie Buckley) struggles with motherhood while trying to develop her learning and career.

The first thing to note here is the superb cast. Although I wasn't as won over by Buckley as some others seem to be, she's fine, this is generally a cast of great actors delivering great performances. Colman has been consistently superb for a long time now, way before any awards were handed over to her, and she continues to be arguably flawless in her main roles. Johnson has also been delivering great work over the past few years, outwith her work in the awful "Fifty Shades" movies, and she's excellent here. Ed Harris is a delight, playing the landlord/porter/islander who sees something in Leda that he responds to, and Peter Sarsgaard is enjoyable enough in a few scenes showing his character forming a strong connection with Leda over a shared love of linguistics. There's also a good supporting turn from Paul Mescal as Will, a young man who works at the sunny resort to earn some money in between terms. It's Will who warns Leda about the true nastiness of the people she got away with crossing once, and his character becomes more important in the third act. The story stays with Leda though, meaning most of the scenes focus on either Colman or Buckley.

It's the performances and the ideas in the script that helped to make this bearable. I'm afraid to say that very little else worked for me. Gyllenhaal does well in her choice to not spoonfeed the audience, allowing characters to behave erratically at times without making their motives obvious, but she indulges herself too often with an artistic and "breathy" approach to the shooting style that detracts from the bittersweet core of the film. Everything that isn't the actual acting, from the Dickon Hinchliffe music to the cinematography by Hélène Louvart, seems to be trying hard to undermine the acting. The film is a well-cast piece of work almost entirely undone by the pretentious errors of an earnest first-time feature director behind the camera.

As hesitant as I am to recommend this to people, it also remains just about worth your time. For now. There's a better film to be made about this, a film for anyone who has ever felt the urge to throttle someone saying "any children?" or "never mind, plenty time yet to start a family". Images of women defined only by motherhood are everywhere, it's a societal bias that I don't think will ever disappear, and art that fights back against that is important. It gives a voice to those who don't have that maternal urge, for whatever reason, and it reminds people that women are more than JUST wives and mothers.

The Lost Daughter could have easily been called The Lost Mother, The Lost Years, The Lost Love, The Lost Chances, or any of a dozen other titles. But it could also be referred to as The Lost Opportunity, subjectively speaking.

5/10

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Robot & Frank (2012)

An affecting drama with just a dash of sci-fi in the mix, Robot & Frank is a great little film that manages to impress viewers without the need for any unnecessary frills. Of course, Frank Langella being fantastic in the main role is a huge plus.

Langella plays Frank, a man who used to be a jewel thief but who now has to get used to the quiet life. Well, that's what his son (James Marsden) and daughter (Liv Tyler) are hoping for. His son even gives him a gift, a robot butler, to both help him around the house and keep him company. But it's not long until Frank realises that the robot may be able to give him a second shot at his favourite, though illegal, career.

Written by Christopher D. Ford, this is a beautiful little film, one that mixes in a few great characters with a small amount of humour and a story arc that viewers will genuinely care about as things play out. It's a seemingly simple drama that's freshened up slightly thanks to the small sci-fi touches throughout, and also thanks to the great cast. As well as Langella, Marsden and Tyler (who isn't onscreen for very long at all), there are also decent turns from Susan Sarandon (a real highlight in her relatively small role), Peter Sarsgaard and Jeremy Sisto, among others.

Director Jake Schreier does well by the material, never overdoing the emotional button-pushing until a final 10-15 minutes that really earns the right to tug at the heartstrings of anyone watching. There are one or two surprises, but none of them will leave viewers feeling cheated.

It's a shame that, perhaps, some people may avoid this because the word "robot" is in the title, while others may seek it out expecting something more sleek and shiny. It's a drama, first and foremost, about aspects of the human condition (growing old, becoming vulnerable, etc.), but it also uses the near-future world that it presents to highlight just how so much can stay the same while so much else changes.

Almost a dictionary definition of the word "unassuming", Robot & Frank might just end up impressing you as much as it impressed me. It's sweet without being sickly, moving without being TOO heavy-handed, and simply entertaining from beginning to end.

8/10

http://www.amazon.com/Robot-Frank-Langella/dp/B00AENNHOE/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1398298580&sr=1-2&keywords=robot+and+frank

Orphan (2009)

Vera Farmiga and Peter Sarsgaard play Kate and John Coleman, a couple very much in love with each other and with their children (Daniel, played by Jimmy Bennett, and hearing-impaired Max, played by young Aryana Engineer) and who have, to put it lightly, been through a really bad time of things. One problem birth that went horribly wrong, the accident that cost young Max her hearing, Kate's drinking problem. Hopefully, that's all now in the past as the couple realise just how much they have and decide to share their lives with someone less fortunate than most by adopting young, eccentric Esther (Isabelle Fuhrman, who is quite superb). It's not long until friction is caused, however, and it seems that Esther may have some hidden agenda despite her youthfulness but will anyone else see her manipulative ways except Kate, who keeps running into a barrier of disbelief thanks to the mistakes of her past.

Dark Castle, as those who have read some of my other reviews may know, have almost always provided me with the kind of fun horror I can easily enjoy even if it's unlikely to top anyone's "favourite movie" list. They do it once again here with a movie that builds tension nicely, throws in some genuinely uncomfortable moments and provides a great mix of uneasiness and more obvious shocks that should keep most modern movie audiences pleased.

The acting is all top notch with Farmiga and Sarsgaard anchoring the whole thing with performances that feel very real and naturalistic and, most importantly, believable amidst a plot that starts to pile up the number of unusual events and "coincidences" it needs to build up to the revelatory finale. The child stars also do very well and Isabelle Fuhrman does not get extra praise simply for landing the juicier role, she's really great in every scene she's in and able to run through a whole gamut of characteristics whether they be faked for the benefit of an audience or genuinely peeking out from behind the mask of her character.

Another string to Orphan's bow is how it mixes the slightly absurd with the very real, affecting horror of things such as the potential loss of loved ones, the acceptance of someone new into the family unit and the guilt that parents can live with for many years while keeping things hidden from everyone around them. Jealousy is a major force in this movie and children vying for attention from their parents can be selfish, manipulative and ruthless in many ways . . . . . . so Orphan just manages to take that to an extreme and let things unfold with horrific consequences.

Impressively handled by director Jaume Collet-Serra, it's rare to see a mainstream horror movie handling such disturbing themes (and, despite the glossy coating, there are certainly a few disturbing themes throughout) and all involved should be given a tip of the hat for getting right behind the material and giving us something that ends up being familiar. But oh so different.

7/10.

http://www.amazon.co.uk/Orphan-Blu-ray-Vera-Farmiga/dp/B002KAIVL8/ref=sr_1_2?ie=UTF8&qid=1372662105&sr=8-2&keywords=orphan