Category Archives: Derek Jacobi

Gladiator II-2024

Gladiator II-2024

Director Ridley Scott

Starring Paul Mescal, Pedro Pascal, Denzel Washington

Scott’s Review #1,456

Reviewed December 21, 2024

Grade: B+

Ridley Scott, who directed Gladiator (2000), returns to the fold to direct Gladiator II almost twenty-five years later. Both are epic proportions and center on the barbaric yet luscious Ancient Roman Era.

It’s the type of film best seen in the theater on a large screen with loud surround sound. It’s bloodier than the first Gladiator.

Scott wisely incorporates snippets of the original’s ending to familiarize the audience with the events and ties a significant character to characters from the first film, both dead and alive.

The great thing about Scott directing both films is that despite the long gap between them, they feel very much aligned and have a similar tone.

When the film begins, we are told that Rome is nearly ruinous and led by tyrants. The peacefulness after Maximus’s (Russell Crowe in Gladiator) death is sadly gone.

Rome is now ruled by corrupt twin emperors, Geta (Joseph Quinn) and Caracalla (Fred Hechinger). They are barbaric and evil and use scare tactics to keep the masses in line.

We meet Lucius (Paul Mescal) when the emperors of Rome steal his home and kill his wife. He has unrelenting rage in his heart, and it’s revealed that he is the rightful heir to Rome and witnessed his father’s (Maximus) death at the hands of his uncle as a young boy.

With the empire’s future at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.

The fact that Lucius is the rightful heir and that his mother, Lucilla (Connie Nielsen), is still alive and now remarried to General Acacius (Pedro Pascal) provides immediate rooting value.

Combined with the viciousness of the current regime, we want the good guys to beat the bad guys. The bloody battles and the machismo nature of the story make it a muscular vehicle sure to appeal to a male audience.

It’s that type of film.

However, there is much to see visually to titillate one’s loins. Mescal looks chiseled and cut in his gladiator attire, sweatily and bloodily fighting others to the death. His hunky nature and dreamy blue eyes only make the character a sure crowd-pleaser.

Mescal also looks enough like Crowe to make the heritage believable.

Pascal and Denzel Washington are terrific in supporting roles. Washington, as Macrinus, a motivated leader intent on having the throne for himself, is bisexual, though this is hardly explored other than one line of dialogue.

A rumored kiss between Macrinus and another male character was reportedly scrapped, and shame on the powers that be for that. Too much for mainstream audiences?

The central LGBTQ+ presence is saved for the more unhinged twin ruler in a more stereotypical form.

There is little unpredictability since we know from the start that Lucius will conquer the tyranny and save the Roman people from further chaos.

But, the violent matches between gladiators and vicious beasts and one another are entertaining to watch and enthralling in their violence.

The visuals of a mock Roman Colosseum and palatial dining areas are well constructed and look real enough to transport us to the Roman Era.

Politically, the twins are compared to present-day tyrannical rulers in office and a rogue’s gallery of appointed officials. Although it can be argued that the twins are somewhat played for laughs, the fact that dictators like this rule is scary.

Gladiator (2000) packs more emotional punch than Gladiator II (2024), but watching them in parallel would be fun. From a story perspective, they link well and have the same look and feel.

Oscar Nominations: Best Costume Design

Nanny McPhee-2005

Nanny McPhee-2005

Director Kirk Jones

Starring Emma Thompson, Colin Firth

Scott’s Review #1,161

Reviewed July 15, 2021

Grade: B

Patterned after the classic family film Mary Poppins (1964), but with a slightly harder edge, Nanny McPhee (2005) attempts to recreate the iconic character with a similar storyline setup.

But a couple of other family films make their presence known.

The Sound of Music (1965) is quickly added to the mix with a well-meaning but absent daddy and a slew of siblings who terrorize former and present nannies.

A scullery maid with big dreams ala Cinderella (1950) solidifies the harkening back to 1960s cinematic family fun.

Great British actors like Emma Thompson and Colin Firth add much to the film which would be mediocre without their benefits. And the iconic Angela Lansbury hops aboard in a small yet important role. They make what would be a disposable kid’s movie into something respectable, romantic, and fairly cute.

The film tries a bit too hard with the comical moments, losing the magical moments that would have made it feel more alive. Instead, most scenarios come across as campy or family-oriented.

Of course, the conclusion can be seen from the very beginning.

The effort is admirable but the story experience never feels very compelling. Thinking demographically, Nanny McPhee has much to offer the younger set. The kids will love the candy-box sets and costumes like confectionery-shop windows, the whimsy and farcical grotesqueness of it all.

The adults might be won over by the creativity and the cast.

Thompson (who also wrote the screenplay) has fun playing ugly and getting her feet dirty, her snaggletooth almost a character itself, so prominent is it featured. She is even the anti-Mary Poppins, lacking an umbrella or the high-class pose that she had.

Each time the children learn a lesson, one of Nanny McPhee’s facial defects magically disappears.

But why not just dust off the original Mary Poppins? Nanny McPhee will inevitably be forgotten since an actual remake of the Mary Poppins film was released in 2015 all but confirming the Nanny McPhee franchise as the second tier.

And Nanny McPhee made me want to revisit Mary Poppins instead of watching Nanny McPhee again.

Set in Victorian-era England, lonely widower Cedric Brown (Firth) hires Nanny McPhee (Thompson) to care for his seven rambunctious children, who have terrified and chased away all previous nannies. But McPhee is different and will have no such nonsense. She slowly wins over the children with magic and a bit of discipline.

And when the children’s great-aunt and benefactor, Lady Adelaide Stitch (Lansbury), threatens to separate the kids, the family pulls together under the guidance of their new leader.

Lansbury nearly steals the show. Short-sighted and domineering, the family is financially supported by her and Cedric cowers to her every request until she demands custody over one of the children. She also viciously threatens to reduce the family to poverty unless Cedric remarries within the month, meaning the family would lose the house, and be forced to separate.

She is deliciously wicked in the role and plays it to the hilt.

The sweet romance between Cedric and scullery maid Evangeline, played by Kelly Macdonald, works well. They resist at first, but then realize their feelings for each other and agree to marry, satisfying Aunt Adelaide’s conditions for maintaining her financial support.

Nanny McPhee (who is now fully beautiful), magically makes it snow in August, transforming the wedding scene and changing Evangeline’s clothes into a beautiful wedding dress.

This is the fairy tale ending that ultimately makes the film work and wins me over.

Nanny McPhee (2005) is solid if not remarkable.

Murder on the Orient Express-2017

Murder On The Orient Express-2017

Director Kenneth Branagh

Starring Kenneth Branagh, Johnny Depp, Michelle Pfeiffer

Scott’s Review #698

Reviewed November 25, 2017

Grade: B+

Kenneth Branagh leads and directs an all-star cast in a 2017 remake of the 1974 thriller Murder On The Orient Express.

The film is based on the famous 1934 Agatha Christie novel of the same name. With a ritzy cast that includes Judi Dench, Johnny Depp, Michelle Pfeiffer, Penelope Cruz, and Willem Defoe, top-notch acting is assured.

The cinematography is tremendous, and the film looks gorgeous from start to finish. The story is an effective, good, old-fashioned whodunit that will satisfy audiences.

We meet our hero, Hercule Poirot (Branagh), in Jerusalem. He has recently solved a murder mystery and is anticipating a good rest. A friend invites Poirot to travel back to his homeland of London via the lavish Orient Express.

Amid a group of thirteen strangers, all inhabiting the luxurious first-class accommodations, one of them is savagely murdered in the middle of the night as a blustery blizzard and subsequent avalanche derails the train atop mountainous terrain.

The strangers are trapped together with a murderer on the loose. Poirot must deduce who has committed the crime and why.

Murder On The Orient Express has all the trimmings for a good, solid murder mystery, and director Branagh sets all of these elements in motion with a good flow.

Paced quite nicely, each principal character is introduced intriguingly, so much so that each contains a measure of juicy intrigue. The film briefly describes each character as they board the grandiose train.

Judi Dench broods as rich and powerful Princess Dragomiroff oozing with jewels and a chip on her shoulder. Corrupt American businessman, Samuel Ratchett (Johnny Depp), is suave and shady as he seems destined to cause trouble.

Finally, Penelope Cruz gives her character, repressed Pilar Estravados, enough shame and guilt that we cannot think something may be off with her motivations.

The details of the characters are rich and compelling.

The playing field is set very high with actors such as Dench and Depp, and all actors play their parts with gusto.

An excellent experience with Murder On The Orient Express demonstrates the true nature of an ensemble cast—each character is relevant in his or her own way, regardless of screen time, and the casting works well.

The cast must have enjoyed working together on this lovely project. Each character is written so that the individual actor can sink his or her teeth into the role, and the wonderful reveal at the end of the film allows each a chance to shine, giving each part equal weight.

After the actual murder is committed, the story takes off as each character is interviewed by Poirot and given a glance of suspicion.

The first half of the film is just the buildup, and, at times, the story slightly lags, but this is fixed when the movie kicks into high gear midway through.

Sometimes, a climactic conclusion makes up for any slight lag in the film’s first portion, and Murder On The Orient Express is an excellent example of this.

My standouts are Branagh himself as Poirot and Pfeiffer as the sexy Caroline Hubbard, an American man-crazed older woman.  How wonderful to see Pfeiffer back in the game in 2017- with fantastic roles in Murder On The Orient Express and Mother!

She has the acting chops to pull off sex appeal, vulnerability, and toughness. Branagh’s acting never disappoints in any film he appears in, but seeing him in a leading role is fantastic, and he can carry a film with such a dynamic cast.

Branagh’s Poirot is classy, intelligent, and charismatic.

I adored the film’s conclusion and found the explanation and reasoning of the murderer or murderers quite effective and believable. The use of black-and-white flashback scenes perfectly balances the action aboard the grandiose yet slightly claustrophobic train scenes.

Furthermore, the explanation and motivations of the killer or killers make perfect sense, and much sympathy is evoked. The story is moralistic and not a black-and-white subject matter.

Murder On The Orient Express succeeds as a wonderfully shot and star-studded affair. The filming is grandiose, and the production values are high. It is a caper film with a mystique and class.

The film may not be a true masterpiece or necessarily remembered ten years from now, but what it does, it does well.

The original film from 1974 is a tad bit better, but as remakes go, the 2017 offering is quite good.

A rumored sequel, Death on the Nile, is planned.

Gosford Park-2001

Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 100 Films #68

Scott’s Review #350

60021796

Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design