Tag Archives: Julie Walters

2003 Films, Comedy, Helen Mirren, Independent, Independent Comedy, Jay Leno, Julie Walters, Patton Oswalt, Penelope Wilton

Calendar Girls-2003

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Calendar Girls-2003

Director Nigel Cole

Starring Helen Mirren, Julie Walters, Penelope Wilton

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged bordering on senior citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities.

The film is a light-hearted affair, charming and fun with positive and inspiring messages about friendship and helping with cancer research.

How can a film like this not bring a smile to the viewer’s face? It did to mine.

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once. There lies a situational or clichéd theme as the women face the standard and guessable awkward moments, but the film entertains in style.

Calendar Girls is based on a true story adding merit, appreciation, and an endearing quality. It’s a feel-good film if there ever was one which is just fine in this case.

The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspire to launch a calendar, bearing their best assets for all to see. Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure.

The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations as some of the women are more modest than others, especially parallel to the conservative and crusty town they live in.

This leads to shocks among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up the idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease.

Unexpectedly, Chris and Annie, along with others from the Women’s Institute in which they are members, achieved worldwide success even invited to Los Angeles to appear on television’s The Tonight Show with Jay Leno.

The women clash due to their success and differing lifestyle directions, before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty (1997) must be mentioned because they are obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk.

Since nudity is the word of the day, both groups possess average bodies and champion worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies?

No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses appear in Calendar Girls, there is an added respectability.

After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too.

There is a classiness the ladies bring so that we can sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality too.

Calendar Girls (2003) is so like The Full Monty that they ought to be watched back to back. Perhaps a naughty night in, with a bottle of wine and some cheese, ready to embark on delights and jolly laughs.

2018 Films, Ben Whishaw, Children, Disney, Julie Walters, Meryl Streep, Musical

Mary Poppins Returns-2018

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Mary Poppins Returns-2018

Director-Rob Marshall

Starring-Emily Blunt, Lin-Manuel Miranda

Scott’s Review #848

Reviewed December 29, 2018

Grade: A-

Mary Poppins Returns is a charming mixture of reboots and sequels to the immeasurably glorious original, Mary Poppins (1964).

Impossible to live up to the magic of that film, the 2018 version comes quite close with a delightful turn by Emily Blunt, numerous Hollywood stalwarts in small roles, and gleeful musical numbers sure to leave audiences humming upon their exit from theaters.

Events begin to percolate twenty-five years following the original story and the setting is 1935 London amid the Great Depression. His wife recently deceased, Michael Banks (Ben Wishaw) lives in the house he grew up in with his three children and housekeeper (Julie Walters) in tow. His sister Jane lives and works nearby as a labor organizer.

Faced with the dreary reality that the historic Banks house may be foreclosed, Mary Poppins (Blunt) arrives elegantly on her umbrella to resume order and save the day.

Though her character does not overtake the film, Emily Blunt is dynamic in the title role. Her prim and proper good British charm and sensibilities crackle with wit and poise. It is tough to imagine anyone but Blunt in the role as she does so well with putting her stamp on it.

With a smirk and a quick matter-of-fact tone, the character is both no-nonsense and utterly kind. The casting of Blunt is spot-on as she becomes Mary Poppins.

The London setting is both adorable and fraught with good culture and sophisticated manners. The inclusion of the storied Big Ben is meaningful to the tale in a major way and a teachable moment for children unfamiliar with London at all.

Furthermore, the inclusion of an important period in history-the inclusion of the Great Depression is immeasurably positive.

The supporting characters are rapturous and a treat for elders familiar with the original Mary Poppins film. Meryl Streep plays Topsy, Mary Poppins’s eccentric eastern European cousin to the hilt, but never teeters over the top.

Colin Firth adds snarky charm as the villainous bank president, and Angela Lansbury gives grandmotherly zest as The Balloon Lady, an ode to the original novel.

Finally, Dick Van Dyke is a delight as the heroic Mr. Dawes Jr. who comes to the rescue at the last hour.

The real winners though are the enchanting musical numbers. With the lovely London landscape in full view, Mary Poppins Returns gets off to a spectacular groove with “(Underneath The) Lovely London Sky”.

Performed by the charming Lin-Manuel Miranda in the role of Jack the Lamplighter, Mary Poppin’s sidekick, the star has what it takes to keep up with Blunt. This is evident as the duo mesmerize and entertains with a colorful number, “A Cover is Not the Book”, alongside an animated music hall.

Finally, fans will revel in the naughty and clever “Turning Turtle”, performed by Streep.

The costumes and lighting are both big hits. As Jack lights and defuses the street lights, we get to see the luminous dawn and the sunsets which give the film a nice luminous touch.

During the film’s conclusion and subsequent race against the stroke of midnight the moonlight is featured giving the film a warm glow.

The period piece costumes are lush, but not garish, adding flavor and capturing the period perfectly.

With not quite enough oomph to rival the original Mary Poppins (but really who expected that?) Mary Poppins Returns (2018) nonetheless is enchanting and inspiring in every way that a remake or sequel should be.

The film is polite, polished, and filled with an authentic zest given the mixing of humans and animations. A fine creation and splendid entertainment.

Oscar Nominations: Best Original Score, Best Original Song-“The Place Where Lost Things Go”, Best Production Design, Best Costume Design

2018 Films, Julie Walters, Meryl Streep, Musical, Richard Curtis

Mamma Mia! Here We Go Again-2018

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Mamma Mia! Here We Go Again-2018

Director-Ol Parker

Starring-Lily James, Amanda Seyfried

Scott’s Review #797

Reviewed July 31, 2018

Grade: B+

My expectations for Mamma Mia! Here We Go Again (2018) was not lofty was I anticipating drivel. I expected (and was in the mood for) a summer popcorn musical flick with fun, dancing, and little in the way of analysis or requiring too much thought.

I can proudly say that my expectations were fulfilled with this film- it delivers what the intent is and sometimes that is exactly what the doctor ordered.

The film is enthusiastic and lively, with the musical numbers serving as the standouts.

In an immediate plot twist, it is revealed that the main character Donna (Meryl Streep) has died a year earlier and her daughter Sophie (Amanda Seyfried) is planning a lavish reopening of her hotel on the beaches of Greece.

The film serves as both a sequel and a prequel as events also go back to 1979 when a young Donna (Lily James) graduates from college and embarks on a journey to “find herself”. She travels extensively and meets her three beaus (anyone who saw the 2008 original will be familiar with this plot) and the film is great at connecting the events of both films in a pleasing way.

Mamma Mia! Here We Go Again is hardly high art and not intended to be. It is a bit sub-par to the original if truth be told as some of the musical numbers are “secondary” ABBA songs. The biggest hits were used in the 2008 film.

The overall plot feels a bit forced and not exactly compelling drama either- especially since we know what the eventual result of Donna’s relationships will be. The story seems geared towards a bombastic finish.

But the sheer fact that the song and dances are interspersed throughout the film makes it enjoyable enough.

The film plays more like someone’s fantasy than a real-life sequence and liberties must certainly be taken.  Everything always seems to go Donna’s way and events merely fall into place- if only real life were that way!

The introduction of Donna’s mother (Sophie’s grandmother) – explained to be a rich and famous singer residing in Las Vegas, is a way to add the legendary Cher to the story. Disappointing, the star does not appear until the end of the film, more like a cameo appearance.

This leads me to the best parts of the film, which occur during the final thirty minutes. As Sophie’s grand hotel reopening party comes to fruition (a devastating storm thrown into the story is purely for dramatic effect), all details fall into place in magical form.

Hundreds of party guests show up, Donna’s beaus reunite, and the aforementioned absentee grandmother (Ruby) makes a grand entrance via helicopter (in stiletto heels naturally). In this way, the grand finale is superior to the rest of the film.

Cher, still looking gorgeous at age seventy-two, is the pure highlight of the film and it kicks into high gear when she appears. Considering all of the hype and press surrounding a film reunion between Cher and Meryl Streep- they starred together in 1983’s Silkwood- it should come as no real surprise that Streep’s deceased Donna makes an appearance.

The two best scenes come at the end of Mamma Mia! Here We Go Again! As much as the lavish Cher demands the grand finale in terms of glamour and song, it is Streep’s touching duet with Sophie that will bring tears to the viewer’s eyes and capture the emotional element of the film.

As Streep and Seyfried churn out a gorgeous rendition of “My Love, My Life”, the mother/daughter relationship between the actresses is lovely and will fondly remind audiences of the chemistry in the 2008 film.

In regards to Cher, the revelation that Ruby is a long-lost lover of the hotel manager, Fernando (Andy Garcia), is sweet and romantic. Despite limited screen time, the duo shares wonderful on-screen chemistry, so much so that I yearned to know the back story of their relationship.

Do we only know that they were madly in love in 1959? Why did it not work out?  Regardless, Cher’s version of the song “Fernando” is both appropriate and enchanting.

Mamma Mia! Here We Go Again (2018) is a summer film sure to please audiences eager for a fluffy musical.

With bright and cheerful Greek island locales, lavish oceans, and bombastic feel-good pop sensibilities, this film was marketed well and shares enough connection with 2008’s Mamma Mia! to enrapture and please audiences who enjoyed the first version.

2015 Films, Domhnall Gleeson, Drama, Emory Cohen, Fiona Glascott, Jane Brennan, Jim Broadbent, John Crowley, Julie Walters, Period Drama, Romantic Drama, Saoirse Ronan

Brooklyn-2015

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Brooklyn-2015

Director John Crowley

Starring Saoirse Ronan

Scott’s Review #298

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Reviewed December 12, 2015

Grade: A

Brooklyn (2015) is a classic-style Hollywood film that I adored watching. It has a genuine innocence to it with wonderful, powerful acting and perfect cinematography/art direction.

The film is conventional and mainstream, but never sappy.

Based on Colm Toubin’s popular novel, Brooklyn takes place in the early 1950s and is set in Ireland and New York City.

Eilis Lacey, played by Saoirse Ronan, is a young Irish girl with good morals and traditional values. She is faithful and Catholic, with a good upbringing. Not rich by any means, she is intelligent and uses good sense, working hard on weekends in a grocery run by an unkind woman, to save money.

Thankfully, her older sister Rose, whom Eilis adores, has scrimped and saved enough for her to study in the United States, via a church program. Rose does not want Eilis to be trapped in the small Irish town.

While in New York City, an event occurs that necessitates Eilis’s return to Ireland. While home she develops a romantic dilemma that causes her to ponder whether to return to her new life in New York City or stay in Ireland.

Eilis is conflicted, which is the main focus of the story.

On paper, one might assume that Brooklyn is sappy, “chick flick” or a trite romance with predictability for miles- it isn’t. Everything about the film is perfect and is very detail-oriented.  The pieces somehow fit together- good direction, good camerawork, good acting, and good story-telling.

Throughout the film, I found myself in an emotional state.

When Eilis meets the young and charming Tony, a working-class Italian American, who becomes infatuated with her, I worried how their different backgrounds will be handled. Their courtship is sweet and tender and I cheered for them as their slow romance builds.

She is taught to eat pasta correctly to impress his traditional parents. He walks her home every night. Tony and Eilis have a sweetness and purity that is tough not to fall in love with as an onlooker.

On the other hand, when dramatic events unfold, the excellent acting makes Brooklyn a delight and quite emotionally powerful. One might find themselves in a flood of tears by the end.

Thanks to Ronan, an impressive talent since my discovery of her work in 2007’s Atonement, she elicits in Eilis a strength and stoicism that is tested when she breaks down at one point in the film.

Important to mention is the awe-inspiring performances by Fiona Glascott as Eilis’s sister Rose, and Jane Brennan as Eilis’s mother.

Unknown actresses (to me), both give dramatic and dynamic performances in their respective roles.

Wonderful to see are veteran character actors Jim Broadbent and Julie Walters as Father Flood and Madge, respectively.

What a visual treat Brooklyn is! As the title reveals, most of the action does take place in this New York City borough, and the influx of Irish and Italian immigrants during this period of history is apparent in the clothing and the cinematography.

The lush green and vast landscape of Ireland makes this divine to view.

A story of bravery, romance, and kindness, Brooklyn (2015) is a wholesome and feel-good film, but, I was immersed in the story and the look of the film from the very first shot.

Oscar Nominations: Best Picture, Best Actress-Saoirse Ronan, Best Adapted Screenplay