Tag Archives: Allen Leech

#239 Favorite Film, 2018 Films, Aaron McCusker, Adam Lambert, Aidan Gillen, Allen Leech, Ben Hardy, Biography, Bryan Singer, Dexter Fletcher, Drama, Favorite Film of the Year, Gwilym Lee, Joseph Mazzello, Lucy Boynton, Mike Myers, Musical, Musical Drama, Rami Malek, Tom Hollander, Top 250 Films

Bohemian Rhapsody-2018

Leave a comment

Bohemian Rhapsody-2018

Director Bryan Singer

Starring Rami Malek

Top 250 Films #239

Scott’s Review #836

Reviewed December 3, 2018

Grade: A-

Crafting a biography of a performer with a personality the size of Freddie Mercury is challenging, but it can be done successfully.

The filmmakers of Bohemian Rhapsody (2018) opt to go in a decidedly mainstream direction, proving a wise choice as the film becomes an enthralling foot-stomping crowd-pleaser.

While nitpicking about accurate timelines and rigid facts may be disappointing, others who are content to sit back and enjoy a heartfelt biopic will undoubtedly love the film.

Rami Malek performs flawlessly as the legendary British rock band Queen’s singer Mercury. I will go out on a limb and state that this could be the young actor’s crowning achievement and his “role of a lifetime”.

The film wisely chronicles the singer’s initial struggles finding his bandmates and the band’s subsequent rise to fame and fortune during the 1970s and 1980s.

Predictably, as with many rock bands, infighting, drug use, and jealousies reared their ugly heads.

Other points of interest featured are Mercury’s personal life and his HIV diagnosis, culminating in his ultimate death in 1991 at the tender age of forty-five.

Less so a biography of the band, Mercury takes center stage as the film’s point. With his four-octave vocal range and operatic sensibilities, the star was a force to be reckoned with. He was nobody who would back down from either studio executives or pesky reporters eager for a scoop about his personal life and preference for male companions.

Malek sinks his teeth into an enormous role that is undoubtedly intimidating for most actors and an unbelievable challenge for the casting department. With boldness and charisma for miles, what actor could ever fill this challenging role?

Malek completely shines as he dons dentures to emulate Mercury’s famous overbite, a fact that the film nearly over exaggerates.

With wounded eyes and clever dialogue, Malek delivers witty one-liners and comical comebacks with a smirk, a hand wave, or a retort of “my dear”. The actor is careful to perfect the dramatic and emotional scenes flawlessly and portray the singer as a lonely and isolated being.

To the delight of most classic rock fans, Bohemian Rhapsody features many songs from the Queen catalog. “Killer Queen,” “Hammer to Fall,” “Another One Bites the Dust,” “We Will Rock You/We Are the Champions,” and the game-changing “Bohemian Rhapsody” are featured, along with the histories and stories behind many of these legendary hits.

Perhaps the loveliest tune, “Love of My Life”, which Mercury wrote for his fiancée Mary Austin, is prominently featured.

The film concludes with the band’s fantastic performance at Wembley Stadium in London for the Live Aid event 1985. A breathtaking finale, this final sequence is jaw-dropping with emotion, heart, and entertainment, and is the film’s finest moment.

As the story reaches its climax at this point with Mercury’s HIV diagnosis (a death sentence for gay men in the 1980s) and revelation to his bandmates, the lengthy scene will not leave a dry eye in the house.

A weakening Mercury powered through his illness to deliver a dynamic performance.

Bohemian Rhapsody’s (2018) numerous historical inaccuracies and incorrect timeline of events have been called into question.

Also, the fact that two members of Queen (Brian May and Roger Taylor) had a staggering amount of creative control is cause for alarm.

Additionally, further reading suggests that the characters of Mary and Mercury’s manager, Paul, may not have been as good or bad as they were respectively written. These points may be valid, but the film is a major champion as a source of good entertainment.

Oscar Nominations: 4 wins- Best Picture, Best Actor- Rami Malek (won), Best Sound Editing (won), Best Sound Mixing (won), Best Film Editing (won)

2022 Films, Allen Leech, Dominic West, Drama, Elizabeth McGovern, Hugh Bonneville, Imelda Staunton, Jim Carter, Laura Carmichael, Maggie Smith, Michelle Dockery, Penelope Wilton, Period Drama, Simon Curtis

Downton Abbey: A New Era-2022

Leave a comment

Downton Abbey: A New Era-2022

Director Simon Curtis

Starring Hugh Bonneville, Michelle Dockery, Maggie Smith

Scott’s Review #1,261

Reviewed May 30, 2022

Grade: B+

Following the success of the 2019 film adaptation of the television series Downton Abbey, which aired on PBS from 2010 to 2015, a sequel was produced. This was unsurprising, given that the fan-favorite was both critically and commercially well-received.

Downton Abbey: A New Era (2022) will undoubtedly please fans of the series and may even attract new audiences who have not yet been exposed to it.

The trials and tribulations of the Crawleys, their friends, and staff are a treat as new situations and drama arise for the group to navigate, discussed over tea and crumpets.

The film is like visiting a cherished friend after a long absence.

Award-winning creator Julian Fellowes is thankfully still involved and was given screenwriting credit. This means that the formula is still the same, and nobody has tried to reinvent the wheel or veer the characters off course.

The year is 1928.

The main action centers around the sudden news that grand dame Violet Crawley, Dowager Countess of Grantham (Maggie Smith), has inherited a villa in the south of France from a former suitor who has just died. Some of the family must travel to France and figure out the mystery.

Secondly, A film production company requests to use Downton for a silent film. Robert (Hugh Bonneville) and retired butler Mr. Carson (Jim Carter) disapprove. Still, Robert’s eldest daughter and estate manager, Lady Mary Talbot (Michelle Dockery), says the income would cover the cost of replacing Downton’s leaking roof.

The household staff is eager to see the film stars and scrambles to make things as lovely as possible for the incoming actors.

The terrific thing about Downton Abbey: A New Era is that nearly all of the almost thirty principal characters are given some storyline.

Plus, there are a handful of new characters to give screen time to.

Surprisingly, as in Downton Abbey (2019), the main ‘super couple’, servants Anna (Joanne Froggatt) and Bates (Brendan Coyle) are given almost nothing to do. They are seen, but their child is not, and some drama would have been nice. Perhaps a mysterious illness or a malady for the couple to endure?

Maybe next time.

Still, everyone else is represented, and the feeling for viewers is warm and fuzzy.

Below are some highlights.

Robert frets at the possibility that he may be half French and his birth a result of a tryst between Violet and the villa owner. Mary’s absent husband allows for a flirtation to develop between her and a member of the film.

Gay butler Thomas (Robert James-Collier) finds himself pursued by the film’s big star.

Cora (Elizabeth McGovern) keeps a health secret, while a bedridden Violet’s health declines in bed. Newlywed servants Daisy (Sophie McShera) and Andy (Michael Fox) scheme to unite his lonely father with the cook, Mrs. Patmore (Lesley Nicol).

Finally, Miss Baxter (Raquel Cassidy) eagerly awaits a marriage proposal from nervous Mr. Molesley (Kevin Doyle).

In addition, new characters, such as actors Guy Dexter (Dominic West), Myrna Dalgleish (Laura Haddock), and director Jack Barber (Hugh Dancy), are instant fan favorites, immediately connecting with the mainstay characters.

This is ingenious writing that can serve as a valuable lesson for any soap opera writer. Always write new characters by sharing stories with existing ones rather than writing in silos. It works wonders.

The historical relevance of approaching the 1930s is not missed, as ‘talkies’ taking over the film industry meant the kiss of death for most silent film stars.

The popular LGBTQ+ storyline is wonderfully written. A gay man in 1928 was doomed to either a life of hiding or one of loneliness, and one character wisely references a ‘cruel world’ regarding the viewpoint of the lifestyle.

Times were not changing just yet.

I am crossing my fingers that a third Downton Abbey film will be made. The characters and storylines remain vibrant, especially as the timeline progresses into the 1930s and the dire 1940s, when World War II breaks out.

Downton Abbey: A New Era (2022) proves that in the COVID-19 era, a trusted old friend is needed tremendously, even on the silver screen.

2019 Films, Allen Leech, Drama, Elizabeth McGovern, Historical Drama, Hugh Bonneville, Imelda Staunton, Jim Carter, Laura Carmichael, Maggie Smith, Michael Engler, Michelle Dockery, Penelope Wilton, Period Drama

Downton Abbey-2019

Leave a comment

Downton Abbey-2019

Director Michael Engler

Starring Hugh Bonneville, Michelle Dockery, Maggie Smith

Scott’s Review #947

Reviewed October 16, 2019

Grade: B+

Capitalizing on the tremendous success of the television series, which ended in 2015, Downton Abbey (2019) is a British historical period drama film written by Julian Fellowes, creator and writer of the series.

Beloved fans will devour the film, as the familiar formula and characters are brought to the big screen, giving it an even grander feel.

The film plays more like a two-hour episode arc over reinventing the wheel, but the result is a resounding crowd-pleasing affair with drama, scandals, and a good dose of nostalgia.

The Crawleys and their servants reside in the lavish fictional estate of Downton Abbey during the year 1927, a year and a half after the series ended.

Little has changed, and most of the characters are in similar situations, enjoying their daily lives.

Robert (Hugh Bonneville) and Cora Crawley (Elizabeth McGovern), the Earl and Countess of Grantham, are notified that King George V and Queen Mary will visit their home as part of a royal tour throughout the country.

The family and staff are excited yet skittish as they prepare to ensure the lavish event goes off without a hitch.

Situations arise such as the Downton Abbey servants feuding with the Buckingham Palace staff, Violet Crawley’s (Maggie Smith) dismay at Robert’s cousin Maud (Imelda Staunton) being in attendance, and attempted plot to kill the King which is thwarted by Tom (Allen Leach).

A new job offer for Edith’s (Laura Carmichael) husband, Mary’s (Michelle Dockery) frustration with maintaining the vast estate, and potential romances for several characters, including a scandalous same-sex relationship.

A few contemporary issues are created – among them, women’s rights and the plight of gay men. And though welcome, neither changes the overall blueprint of what the series is about, which is just what the series fans ordered.

Smith is the main attraction as she chews up the scenery with her insults, sarcasm, and blunt honesty. But the best scene, coming late in the film, gives Smith a chance to burst with sentimentality and limit the hamminess for at least one treasured scene.

The costumes and art direction are lovely, with luscious gowns, tuxedos, suits, jackets, hats, and shoes found in every scene.

The sprawling grounds of Downton Abbey and the ravishing interiors are front and center.

The film ventures to the neighboring city of York to offer a more progressive and metropolitan vibe, but each scene looks perfect, which is what fans have come to expect.

Not every character is front and center, but with an unwieldy cast of close to thirty principals, some are destined to accept back-burner status.

Surprisingly, yet agreeably, is the toned-down story for “super-couple” Bates (Brendan Coyle) and Anna (Joanne Froggatt), having enjoyed their share of trials and tribulations during the original run.

Wonderful moments feature supporting characters like Carson (Jim Carter), Thomas (Robert James-Collier), and Molesley (Kevin Doyle), who nearly steals the show with his hysterical fascination with royalty.

The balance and pace of the film are nearly perfect, and every character has at least something to do.

This characteristic has always helped huge ensemble casts succeed, and Fellowes wisely balances humor with drama but avoids tragedy or dark situations, hoping for mainstream success with his move to the big screen, opting to play it safe.

The attempt succeeds as the film adopts the “if it ain’t broke, don’t fix it” approach.

Downton Abbey (2019) is a splendid winner, primarily due to its impressive production values and costumes.

For fans of the television series, the film is a must-see and offers no more or no less than expected, providing more than enough to please those who want what the popular stories initially offered.

Despite the drama, the film does not feel “soapy” or contrived, and the tender moments may evoke a need for a hankie.

If the writing can remain fresh, I see no reason for another offering not to be green-lit, primarily due to the significant box-office returns.

2014 Films, Allen Leech, Benedict Cumberbatch, Biography, Drama, Keira Knightley, Mark Strong, Morten Tyldum

The Imitation Game-2014

Leave a comment

The Imitation Game-2014

Director Morten Tyldum

Starring Benedict Cumberbatch, Keira Knightley

Scott’s Review #213

70295172

Reviewed January 15, 2015

Grade: A

The Imitation Game (2014) tells the story of Alan Turing, a confident and brilliant British mathematician who was responsible for cracking Nazi Germany’s Enigma code, which led to the Allied forces winning World War II.

The film also delves into Turing’s complex and sad personal life and the audience grows to know his upbringing largely told via flashbacks as a small boy at boarding school.

The film is tragic yet wonderfully made and is a powerful viewing experience in human storytelling.

The film has two aspects going on. The first is the hiring of Turing by the Government Code and Cypher School at Bletchley Park to crack the code and the numerous struggles faced in accomplishing this feat.

Turing is not easy-going. He is arrogant, quick-witted, and even smug. However, through his friendship with Joan (Keira Knightley), an intelligent woman on the team of scholars, we see a human side to him as they forge a lifelong bond.

The other is of his personal life which is a bit more mysterious and comes into play during the second half. Keeping a secret about his personal life, he is homosexual, which in the time the film is set (1940’s England), is illegal.

Alan and Joan agree to marry, in large part to appease her parents, but circumstances change these plans.

Benedict Cumberbatch, who portrays Turning, deserves praise for his impressive portrayal. He successfully gives depth and a wide range of emotions to the character.

He begins as a self-centered man but becomes layered, guarded, and protective due to his private life of which he is forced to hide a great deal.

Keira Knightley’s character supports Cumberbatch’s character of Alan as she becomes engaged to him and later in life becomes his biggest champion. Her character, besides being quite intelligent, is also kind and giving.

The ending will give the viewer many tears and cause to think of the enormity of World War II in terms of the vast amount of casualties. The facts listed just before the credits roll are awe-inspiring and gut-wrenching.

The Imitation Game is not a war movie per se since it does not deal with battle scenes. It is more of a drama dealing with the effects of war. Many figures are presented and some characters are affected.

For instance, in one scene, the group (led by Turing) must make a heartbreaking decision not to stop an impending attack, which will cause many deaths- including a character’s brother- instead of choosing to keep mum to save thousands more.

It is a powerful scene.

The Imitation Game (2014) successfully and heartbreakingly tells the story of a heroic figure who received no accolades while living, instead of being ostracized, and not until posthumously, did he receive his due.

Sadly, this was too little too late.

Oscar Nominations: 1 win-Best Picture, Best Director-Morten Tyldum, Best Actor-Benedict Cumberbatch, Best Supporting Actress-Keira Knightley, Best Adapted Screenplay (won), Best Original Score, Best Production Design, Best Film Editing