Category Archives: Colin Farrell

2022 Films, Brendan Gleeson, Colin Farrell, Comedy, Dark Comedy, Drama

The Banshees of Inisherin-2022

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The Banshees of Inisherin-2022

Director Martin McDonagh

Starring Colin Farrell, Brendan Gleeson, Kerry Condon

Scott’s Review #1,348

Reviewed March 2, 2023

Grade: A

Martin McDonagh, who directs The Banshees of Inisherin (2022), is known for films like In Bruges (2008) and Three Billboards Outside of Ebbing, Missouri (2017). His films usually include dark humor stories of humanity and unpleasantness and require some afterthought to ruminate about the characters’ true nature.

This film stars Colin Farrell and Brendan Gleeson who reunite from their collaboration in In Bruges for another turn playing men dealing with depression and other feelings of loneliness and friendship.

McDonagh is British/Irish so the period and surroundings likely resonate well with him. The gorgeous islands off coastal Ireland are used and key to the story and counterbalance the troubles and tribulations of the characters.

Pádraic (Farrell) and Colm (Gleeson), are lifelong friends and inhabitants of an island off of mainland Ireland. They find themselves embroiled in a feud after Colm one day announces he is ending their friendship. This confuses Pádraic who vows to mend the relationship at all costs.

Their reunion is thwarted by severed fingers, a fire, and the mysterious death of Pádraic’s beloved pet donkey, Jenny.

Mixed into the events are Pádraic’s sister Siobhán (Kerry Condon) and troubled young islander Dominic (Barry Keoghan), who have their problems to face.

The Banshees of Inisherin is slow-paced and cerebral and many questions will be pondered but left unanswered. This will tick off those viewers who prefer a clear conclusion to the characters’ lives.

But, this is a key part of the beauty of the film. Sure, I might have liked one big no-holds-barred argument scene between Pádraic and Colm or more closure in Dominic’s or Siobhán’s stories. Instead, McDonagh challenges the audience to feel perplexed or unsure and use their interpretations.

For example, I wonder if Dominic was being sexually abused by his policeman father who has a penchant for sitting naked in the living room chair and masturbating.

Or, what does Siobhán leave the island for and will she ever return?

On a separate note, I wonder if McDonagh was influenced by the epic 1970 gem Ryan’s Daughter, directed by David Lean. The flowing Irish landscapes and unpleasant, embittered townspeople have key similarities.

The winning formula is ambiguity. The audience is served terrific acting all around, particularly amongst the four principals (Farrell, Gleeson, Condon, and Keoghan) all of whom were awarded Academy Award nominations.

Each provides subdued performances dripping with contained emotion and complexities buried beneath the surface.

Audiences can draw their conclusions but my takeaways were loneliness, longing for new adventures, depression, and begrudgingly accepting meager existence amid the most lavish countryside one can find.

The 1920s Irish Civil War is the backdrop though those events are not central to the plot.

Since Colm’s desire to create music is a central part of the story the accompanying music is crucial to the film. The use of fiddles is incorporated rather than traditional Irish music except in the sprinkling of pub scenes.

A hearty round of applause is due to McDonagh and company for crafting and performing a thinking man’s film. The comic bits are not syrupy but tragic in their honesty and cadence.

The Banshees of Inisherin (2022) separate cinematic thinkers from passive viewers with a quiet story about the friendship between two men and the layers that exist beneath the surface.

Oscar Nominations: Best Picture, Best Director-Martin McDonagh, Best Actor-Colin Farrell, Best Supporting Actor-Brendan Gleeson, Barry Keoghan, Best Supporting Actress-Kerry Condon, Best Original Screenplay, Best Film Editing, Best Original Score

2002 Films, Action, Cameron Crowe, Colin Farrell, Crime Thriller, Frank Grillo, Jessica Harper, Lois Smith, Max von Sydow, Peter Stormare, Samantha Morton, Science Fiction, Steve Harris, Steven Spielberg, Thriller, Tom Cruise

Minority Report-2002

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Minority Report-2002

Director Steven Spielberg

Starring Tom Cruise, Colin Farrell, Samantha Morton

Scott’s Review #1,318

Reviewed November 27, 2022

Grade: B+

If you study his body of film work, the fascinating thing about acclaimed director Steven Spielberg is the growth and groundbreaking cross-genre categorization of many of his films.

Traversing blockbuster popcorn films like Close Encounters of the Third Kind (1977) and E.T. the Extra-terrestrial (1982) to heavy drama with the 1993 masterpiece Schindler’s List, the man can do it all.

With 2002’s Minority Report, he bravely delves into science-fiction territory with a crime thriller and action tint. The film is tough to follow and mostly reminds me of Inception (2010), a Christopher Nolan vehicle influenced by this film.

Despite the cerebral tone, Minority Report is a fascinating study of futuristic crime-fighting styles with enough twists and turns to keep me engaged though I confess at times having no real idea what was going on plot-wise.

The casting of Tom Cruise is a major win. Who better to carry a film like this except maybe Bruce Willis though Cruise is a better actor. Nonetheless, he is believable as a crime chief with a slick edge and a wicked smile.

Unsure whether or not to trust him he remains at the heart of the success of the film.

Based on a story by science fiction writer Philip K. Dick, ‘Minority Report’ contains a perfect premise to bring to the big screen. Set in Washington D.C. in 2054, police are now intelligent enough to utilize psychic technology to arrest and convict murderers before they commit their crimes.

The setup is fabulous and rife with possibility.

Cruise plays Chief John Anderton, the head of this Precrime unit, and is himself accused of the future murder of a man he hasn’t even met. Following an audit, it is predicted that in thirty-six hours, Anderton will kill a man who is a stranger to Anderton.

Anderton flees, prompting a manhunt led by Witwer (Colin Farrell).

It is revealed that Anderton joined the Precrime program after his son was kidnapped and never found. He is depressed, withdrawn, and addicted to hard drugs, and his wife Lara (Kathryn Morris) has since left him.

But is this all a setup and are others involved in the conspiracy?

The plot goes way off the rails in terms of explanation or logic but the fun is in trying to put the never-ending puzzle pieces together. Truthfully, after a while, I simply gave up this approach and enjoyed the visual eye candy and terrific futuristic style.

I rarely am a proponent of visuals over storytelling but the intelligence of the sequences and the thrilling nature of the acting assured me there was something there. I just wasn’t completely getting it.

Since it’s directed by Spielberg I was confident that the complexities I was being served were not shit. I was comforted by this knowledge and my enjoyment escalated.

Enough props can’t be handed out for Cruise’s dynamic performance parlayed by the coldness and harshness of the overall tone of the film.

Many of Spielberg’s films are heartwarming but this was not to be found in Minority Report (2002) and I liked it even more for that reason.

Spielberg gets another win by suckering me into a cinematic world that he magically can create. This time with perplexities and perhaps even some influence from the Matrix (1999) movies.

Oscar Nominations: Best Sound Editing

2019 Films, Children, Colin Farrell, Disney, Michael Keaton, Roshan Seth

Dumbo-2019

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Dumbo-2019

Director-Tim Burton

Starring-Colin Farrell, Danny DeVito, Eva Green

Scott’s Review #889

Reviewed April 24, 2019

Grade: C+

Dumbo (2019), the live-action remake of the charming and emotionally charged animated original from 1941 contains some positives but ultimately underwhelms coming up with less than a stacked deck.

The problematic and gnawing element that persisted throughout the Disney film was too much of a cute or child-leaning quality for my taste. Assuredly though for an afternoon at the theater with young children under the age of twelve the film is a recommended fun activity and utterly appropriate.

My expectation, knowing that Tim Burton was at the director’s helm, was for a darker, perhaps murkier interpretation given some in his catalog of films.

After all, Beetlejuice (1988) and Dark Shadows (2012) though flawed contain some wicked charm and naughty humor Dumbo is considerably soft as the director chooses a safe, more accessible path.

To be fair, creating magic from nearly eighty years ago is a tough task for anyone to achieve.

World War I veteran and amputee, Holt Farrier (Colin Farrell) returns from the war to rejoin the financially problematic traveling circus owned by Max  Medici (Danny DeVito).

A widower, reunited with his two children Holt is assigned to oversee the pregnant elephant, Mrs. Jumbo as she gives birth to an unusual-looking elephant with giant ears who comes to be known as Dumbo.

The children discover that Dumbo can fly when aided by a feather as the evil V.A. Vandevere (Michael Keaton) attempts to profit from Dumbo’s talents at any cost as he adds to his fabulous creation, Dreamland.

The art direction and the look of the film are where Burton succeeds.

With dark-looking creations and windy, spider-like sets, especially in Dreamland, the film has the director’s signature stamp.  The costumes and styles are to be complimented given the year 1919 and the wardrobe and hairstyles are in match with the times.

The circus stars and characters from the fat lady to the exotic jugglers are well-cast adding good texture and multi-cultural flavor to the production.

The standout musical number is the poignant and sentimental “Baby Mine” wisely featured twice during the film. Since the song is so lovely this proves a bold move and my favorite part of an otherwise mediocre experience.

Sharon Rooney sings the version featured during a touching and painful scene between separated elephants Dumbo and Mrs. Jumbo, and the rock band Arcade Fire performs a different rendition over the end credits.

Anyone needing a good cry would be advised to check out the emotionally charged song.

While the acting among Farrell, DeVito, and Eva Green as Colette, the French trapeze artist who falls for the sexy Holt, all play their roles admirably, two performances left me with critical fire. Keaton, typically a standout performer goes full-throttle with an over-the-top and one-note performance as the villainous Vandevere.

Cartoon-like with herky-jerky head snaps and tic-like movements, the actor appears silly and ineffectual at creating any sort of robust character. Young actress, Nico Parker as Milly, Holt’s daughter, gives a dreadfully wooden performance in what could have been the film’s most likable character.

Besides one or two tender scenes the film largely goes for a cutesy vibe, not feeling fresh nor especially genuine. A Disney production, the film feels quite mainstream, lacking edginess, like the producers had dollar signs and major success on their minds over artistic merit or staying true to the original.

Other than a quick shot of the number “41” on the front of a train, a clear tribute to the animated original’s year of release, the remake strays very far from the first Dumbo with a few new characters and sadly no gossipy female elephants anywhere.

A disappointing offering, the live-action Dumbo (2019), the year’s first in a series of five expected Disney releases (Aladdin, The Lion King, Maleficent: Mistress of Evil, and Lady and the Tramp being the others) lacks much more than a couple of sweet scenes, an adorable elephant, and admirable sets, feeling utterly ordinary in flavor.

This is a misfire compared to the legendary, teary 1941 version of Dumbo.

2017 Films, Colin Farrell, Independent, Independent Thriller, Nicole Kidman, Thriller, Yorgos Lanthimos

The Killing of a Sacred Deer-2017

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The Killing of a Sacred Deer-2017

Director-Yorgos Lanthimos

Starring-Colin Farrell, Nicole Kidman

Scott’s Review #774

Reviewed June 15, 2018

Grade: A

For fans of Greek director Yorgos Lanthimos, creator of such disturbing and bizarre films as 2009’s Dogtooth and 2015’s The Lobster, then The Killing of a Sacred Deer (2017) will be a treasure.

As with those films, the odd story and the peculiar acting styles are prevalent making the film quite the experience.

I relish the film and its unusual nature, offering a cinematic experience that is insightful, mesmerizing, extreme, and quite frankly, brilliant.

Steven Murphy (Farrell) is an esteemed cardiac surgeon who “befriends” a troubled teenage boy named Martin (Barry Keoghan) whose father had died years earlier as a result of Steven’s negligence.

When Martin slowly insinuates himself into Steven’s family life, they begin to fall ill. Martin threatens to kill the entire family unless Steven kills either his wife Anna (Nicole Kidman) or one of his two children- the victim can be of his choosing.

The creepy premise is enormously intriguing as the conclusion cannot be foreseen.

A basic yet deep storyline is wonderfully spun with many possible directions for the plot to go in. After forty-five minutes or so of the audience wondering why Steven and Martin meet secretly in diners, hospital corridors, or other remote areas, the teen boy’s true motivations come to the surface as he rapidly and calmly puts his cards on the table for Steven.

Surprisingly, none of the characters are particularly sympathetic.

One would assume that the Murphy family- wholesome, affluent, and astute, would garner audience support, but we slowly peel back the onion on each character.

With a gorgeous house in a quiet Cincinnati neighborhood, Steven and Anna (a doctor herself) are sometimes harsh and physical with their kids, while the kids (Bob and Kim) develop a strange fascination toward Martin.

In this way, each character is peculiar and has his or her own dire motivations as the plot unfolds.

Lanthimos is quietly becoming one of my favorite new directors as he slowly churns out one disturbing film after the next. Particularly in The Killing of a Sacred Deer, his clear Stanley Kubrick influences bubble to the surface.

With plodding then sudden bombastic classical music pieces, the score is crisp with uniqueness, eliciting emotions like surprise and terror from the audience.

From a visual perspective, fans of Kubrick will no doubt notice the long camera shots and slowly panning camera angles. The hospital’s long and foreboding hallways are prominently featured as we follow a character walking along the corridors. This is highly reminiscent of the Overlook hotel sequences in the 1980 Kubrick masterpiece, The Shining.

One particularly jarring nuance to the film is the speech patterns of most of the actors- clearly dictated by Lanthimos and also occurring in 2015’s The Lobster.

The character of Steven talks very quickly, but with monotone delivery and in a matter-of-fact style; Kim and Martin also speak this way. I didn’t notice the quality as much with Kidman’s Anna, but Farrell really went to town. I’m not sure this totally works throughout the entire film since the mannerisms give off almost a comical element.

To be sure, this uniqueness makes the film more quirky and decidedly non-mainstream, which is to be celebrated.

The climax of the film is brutal.

As Steven brandishes a loaded shotgun, the family gathers in their family room, Anna fussing over her new black dress. As the group dons pillowcases, Steven goes Russian roulette-style on the family, randomly firing a shot until one member is killed. When the remaining family members see Martin at the diner the next day, they provide him with icy, hateful looks.

The entire scene is done without dialog and is tremendously macabre.

Rest assured, I am eagerly awaiting Lanthimos’s next project (reportedly already in the works) and hope against hope he continues to use the superb Colin Farrell, the brilliant Nicole Kidman, and newcomer Barry Keoghan again.

Thanks to tremendous acting, a riveting score, and enough thrills and creeps to last a lifetime, The Killing of a Sacred Deer (2017) is at the top of its game.

Independent Spirit Award Nominations: Best Supporting Male-Barry Keoghan, Best Cinematography

2017 Films, Colin Farrell, Drama, Elle Fanning, Kirsten Dunst, Nicole Kidman, Period Drama

The Beguiled-2017

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The Beguiled-2017

Director-Sofia Coppola

Starring-Nicole Kidman, Colin Farrell

Scott’s Review #659

Reviewed July 4, 2017

Grade: A-

A remake of the 1971 film (also adapted from an earlier novel) starring Clint Eastwood, The Beguiled is a 2017 release directed by Sofia Coppola (Lost in Translation), a director ready to burst onto the front lines.

Coppola carefully chooses her films, but each one is different from the others and The Beguiled is no different. A piece fraught with atmosphere and tension, Coppola does wonder from a directing standpoint.

The story has tons of unchartered potential and drags at times, but overall The Beguiled is a hit if nothing more than to look at in wonderment.

The film gets off to a moody start as we follow a young girl, eerily humming as she picks mushrooms, along a deserted southern road. It is Civil War times (1864), and the setting is a mostly deserted all-girls boarding school in southern Virginia.

The girl (Amy) is startled when she discovers an injured, handsome Union Army soldier, Corporal John McBurney (Farrell). Sympathetic, Amy helps the soldier back to the school, led by the headmistress, Martha Farnsworth (Kidman).

Slowly, the females in the school become enamored with John as they develop rivalries with each other to gain the upper hand for his affections.

There is something so sinister and wickedly foreboding about almost every scene as we shrink at the thought that something bad will happen at any moment- sometimes it does and sometimes it does not.

Almost like a horror film would, the camera angles are such that something or someone is bound to suddenly leap out and grab a character.

The colors are muted and almost pastel and there is commonly fog floating through the exterior scenes. Coppola does a fantastic job of portraying a deserted southern landscape. The lighting of the film is also intriguing as lit candles serve to enhance the dimness and the final dinner scene (poison mushrooms anyone?) is gloomy and Shakespearean.

Beyond the look of the film, The Beguiled is well-acted. With heavyweights like Farrell, Kidman, and frequent Coppola star, Kirsten Dunst, as the vulnerable and unhappy teacher, Miss Morrow, the acting is stellar and believable. The audience is unsure if John is manipulating the women for his gain or if he has developed feelings for any (or all) of them.

The lovesick teen, Alicia (Elle Fanning), with hormones raging, sets her sights on John almost from the beginning, sneaking out of musical lessons, to kiss an unconscious John goodnight.

The story, while compelling, is quite slow-moving and left with oodles of possibilities when the conclusion finally happens. Other than the tart, Alicia, the endless romantic potential could have been reached with both Miss Morrow and Miss Farnsworth.

I was left wondering throughout the film when a romance would develop between Martha and John, but only towards the end of the film was this ever addressed and barely skirted over, as they take charge and stoic Martha slowly began to let her guard down.

In this way, the film could have added some further romantic complications and beefed up the very short running time of ninety-three minutes.

As Nicole Kidman is one of my favorite film stars of all time (she can tell a story by facial expressions alone), she has wisely begun to choose fantastic supporting roles as she ages in Hollywood (2016’s Lion immediately comes to mind).

Dunst has aged gracefully into a middle-aged actress chomping at the bit for meaty roles, and Colin Farrell is as ruggedly handsome as ever sprouting a dark and bushy beard for most of the role. The acting in The Beguiled is fantastic.

The Beguiled is a film to watch if only to escape to the joys of great, atmospheric, film-making, and to appreciate the wonderful talents of one of the few prominent female director’s of today (hopefully the mega success of 2017’s female-directed Wonder Woman will begin to change this).

The story has a few issues, but overall The Beguiled is worth the money spent.

2016 Films, Ben Whishaw, Colin Farrell, Comedy, Dark Comedy, Drama, John C. Reilly, Léa Seydoux, Olivia Colman, Rachel Weisz, Romantic Drama, Satire, Yorgos Lanthimos

The Lobster-2016

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The Lobster-2016

Director Yorgos Lanthimos

Starring Colin Farrell, Rachel Weisz

Scott’s Review #635

Reviewed April 20, 2017

Grade: A-

One thing is sure about the puzzling 2016 film The Lobster: It is a film worthy of discussion long after the end credits roll and will leave the viewer pondering its many facets—a great movie to dissect.

This in itself is worth recognition and praise for the power of the film- so many questions abound.

I was immediately struck by how heavily The Lobster contains primary subject matter influences from “message novels” (and films) such as Brave New World, 1984, and A Clockwork Orange, as well as creative, stylistic recent film influences from The Grand Budapest Hotel (2014) and the Moonrise Kingdom (2012).

The story begins outside of Dublin, where David (Colin Farrell) has recently been dumped by his wife in favor of another man.

Now single, he is whisked away by authorities to a luxurious hotel in the woods, where he (and the other guests) are given forty-five days to find a suitable romantic partner, or else they will be turned into an animal of their choice.

David is accompanied by his brother, now a dog, and has decided that he should be turned and that he will become a lobster because he loves the sea, and they tend to live to be over one hundred years old.

The hotel management adheres to strict rules- no masturbation, mandatory temptations by hotel employees, and a strange outdoor hunting game where the guests hunt other guests to win extra days extended to their stays.

As David befriends fellow hotel guests, he is conflicted and desperate to find a mate. Events take a surprising turn when circumstances allow the rules to change for him, and he becomes involved with a short-sighted woman (Weisz).

The film’s plot is strange beyond belief yet incredibly creative and thought-provoking. The subject matter is pure dystopian- a facility, presumably controlled by the government, with a rebel group intent on ruining the “status quo.”

Suddenly, an odd little secret romance between David and Shortsighted Woman appears, beginning only during the film’s final act.

One aspect of the film that I found interesting was the odd monotone dialogue the characters used. They were almost matter-of-fact in whatever they said, even while expressing anger.

This peculiarity perplexed me, but the more I think about it, the more this decision makes the film dark-humored and dry with wry wit.

Another interesting nuance to the film is the multitude of quirky characters, many of whom are mainly referred to by their nicknames. Lisping Man, Limping Man, and Nosebleed Woman, to name a few.

And what viewer would not spend the film’s duration imagining which animal he or she would desire to be turned into and why?

My favorite aspect of the film is the offbeat performance by Colin Farrell- typically a rugged sex symbol, he goes against the grain and plays a pudgy, socially awkward, insecure man, but all the while instilling the character with enough warmth and likability to make the character work- and his chemistry with Rachel Weisz is fantastic.

This turns the strange dark comedy into a peculiar romantic drama.

A beautiful forest becomes the backdrop for a large part of the film, as does the city of Dublin itself, contrasting the film in nuanced ways. Combined with the lavish hotel, the film achieves several different settings for the action, each meaningful in its own right.

Without giving anything away, the conclusion of the film- the final scene in particular- is gruesome in what goes through the viewer’s mind, and the resolution is unclear.

Does David do it, or doesn’t he? Much of the film is open to one’s interpretation and imagination.

Black humor and cynicism are significant components of The Lobster, a thinking man’s movie. I continue to think of this film as I write this review.

The film is filled with originality and thought, which is a tremendous positive. Confusing and mind-blowing? For sure. A run-of-the-mill film? Not.

The Lobster (2016) is a film that gives no answers and is not an easy watch but an achievement in film creativity- something sorely needed.

Oscar Nominations: Best Original Screenplay

2009 Films, Colin Farrell, Drama, Independent, Independent Drama, Jeff Bridges, Maggie Gyllenhaal, Robert Duvall, Scott Cooper

Crazy Heart-2009

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Crazy Heart-2009

Director Scott Cooper

Starring Jeff Bridges, Maggie Gyllenhaal

Scott’s Review #571

Reviewed December 29, 2016

Grade: A-

Crazy Heart (2009) is a film that is perfectly crafted for Jeff Bridge’s talents as an actor and the role seems written specifically for him.

To that end, it is a showcase for the actor, and as proof, he was awarded the Best Actor Oscar.

He plays surly, grizzled, and rode-hard to the hilt. His chemistry with co-star Maggie Gyllenhaal is fantastic- despite her character being much younger than his.

The first directorial effort by Scott Cooper, who does an outstanding job.

Gyllenhaal plays a reporter, Jean Craddock, who becomes attached and fascinated by Bad Blake (Bridges), a former country-western star turned alcoholic and now a washed-up old man.

He has mentored an upstart played by Colin Farrell, who has since usurped Bad Blake in popularity, leading Blake to depression and alcohol to relieve his pain. He still performs, but in dirty hotels or bowling alleys, for peanuts.

Bridge’s character reminds me so much of Mickey Rourke’s character “Randy the Ram” in The Wrestler, from 2008, so anyone who enjoyed the latter will enjoy the former.

One might watch the two exceptional films in tandem- and in both, there appears a younger female character who meshes well with the stories.

The story portrayed in Crazy Heart is gritty and depressing, yet also heartwarming and sentimental. We root for Blake and Jean to succeed, battling Blake’s many demons.

Crazy Heart is very well-acted and genuine.

The film is nice as it is a character-driven film instead of a story-dictated one.

Oscar Nominations: 2 wins-Best Actor-Jeff Bridges (won), Best Supporting Actress-Maggie Gyllenhaal, Best Original Song-“The Weary Kind” (won)

Independent Spirit Award Nominations: 2 wins-Best Male Lead-Jeff Bridges (won), Best First Screenplay, Best First Feature (won)

2012 Films, Christopher Walken, Colin Farrell, Comedy, Crime Drama, Dark Comedy, Drama, Gabourey Sidibe, Harry Dean Stanton, Independent, Independent Comedy, Independent Drama, Kevin Corrigan, Martin McDonagh, Michael Stuhlbarg, Sam Rockwell, Satire, Tom Waits, Woody Harrelson

Seven Psychopaths-2012

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Seven Psychopaths-2012

Director Martin McDonagh

Starring Colin Farrell, Sam Rockwell

Scott’s Review #422

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Reviewed June 19, 2016

Grade: B-

Seven Psychopaths (2012) is a film that I truly wanted to like more than I did.

It started well with a Quentin Tarantino style that was appealing and the film does contain an interesting premise.

Colin Farrell plays the straight man in a cast of offbeat, quirky characters and is attempting to complete a screenplay entitled “Seven Psychopaths” based on these characters.

Sounds great, but halfway through the movie stopped delivering. I found myself slightly bored.

The film has a unique concept, to be sure, but fizzles during the second act, so much so that it stopped making much sense and lost my interest.

I did admire the creativity, though, and the chemistry among the cast is great, but the overall story in Seven Psychopaths (2012) disappointed me.

Independent Spirit Award Nominations: Best Supporting Male-Sam Rockwell, Best Screenplay

2013 Films, Biography, Bradley Whitford, Colin Farrell, Drama, Emma Thompson, Jason Schwartzman, John Lee Hancock, Kathy Baker, Paul Giamatti, Rachel Griffiths, Tom Hanks

Saving Mr. Banks-2013

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Saving Mr. Banks-2013

Director John Lee Hancock

Starring Tom Hanks, Emma Thompson

Scott’s Review #36

70283202

Reviewed June 18, 2014

Grade: A-

Saving Mr. Banks (2013) is a movie that transports you back to the wonders of childhood.

It is a delightful, whimsical tale of how the story of “Mary Poppins” made it to the silver screen as a Walt Disney production in the 1960s and there were many challenges.

Emma Thompson and Tom Hanks (as author P.L. Travers and Walt Disney, respectively) prevent this film from being overly sentimental and even sappy, by their character portrayals.

Travers is a difficult, demanding woman, but Thompson adds layers to her so the viewer feels attached and sympathetic.

Tom Hanks portrays Disney to the hilt as patient and understanding. Travers’s backstory is heartfelt and interesting.

Saving Mr. Banks (2013) is a mainstream, Hollywood feature, but one that reeled me in from the get-go and never let up.

Oscar Nominations: Best Original Score