Lucian Msamati | Scott's Film Reviews-1,450 + Reviews posted!!! COMING SOON-MY NEW TOP 250 FILMS!!

Conclave-2024

Director Edward Berger

Starring Ralph Fiennes, Stanley Tucci, John Lithgow

Scott’s Review #1,447

Reviewed October 17, 2024

Grade: A

I was fortunate to see the Conclave (2024) premiere at our local art theater before most of the public audiences had. I anticipate those talking about the ‘twist’ at the end will be stunned. Having been told there was a ‘twist’ at the start, but not knowing what it was kept me wondering.

I’ll say nothing more about the ‘twist’.

Admittedly, the premise didn’t wow me, and I only saw Conclave because of the acclaim and awards season buzz surrounding it.

Heavyweight actors like Ralph Fiennes, Stanley Tucci, John Lithgow, and Isabella Rossellini didn’t hurt.

The end product is well written, well acted, and well produced, with a tinge of push-pull between liberalism and conservativism that feels timely and relevant.

It’s based on a 2016 novel written by Robert Harris.

The story is fictional and follows one of the world’s most secretive and ancient events, selecting the new Pope. Cardinal Lawrence, expertly played by Fiennes, is tasked with running this complex process after the unexpected death of the beloved current Pope.

Once the Catholic Church’s most powerful leaders, most chomping at the bit to be elected the next Pope, have gathered from around the world, Lawrence uncovers a trail of secrets involving the dead Pope, secrets which could shake the foundations of the Church.

They are locked in the Vatican, protected from the outside world until the majority chooses the new Pope.

Edward Berger did a phenomenal job bringing the 1930 epic All Quiet on the Western Front (2022) to legions of audiences and a slew of Oscar nominations. All bets are that he does it again with Conclave.

The screenplay is written by Peter Straughan, primarily a British playwright. The action immediately begins with the Pope’s death, and most of it is a slow buildup, sometimes even a crawl.

Halfway through, I wondered why Conclave was receiving so much notice. After the conclusion, I could not stop thinking about it for days.

Berger/Straughan play their cards close to the pocket throughout most of the running time, toying with audiences who expect a traditional, mainstream affair before the rug is yanked from beneath them.

Usually, dramas or thrillers with a religious theme, mainly centering around questioning the Catholic Church, risk dismissal or ridicule. I’m anxious to see how this plays out with Conclave.

In hindsight, more than the obvious make Conclave worth talking about after the upside-down ride that results.

Character-driven, Lawrence questions his faith and devotion and doesn’t even want to be the new Pope. We’re not exactly sure why he wants to leave the Church. Is he involved in a secret scandal? Could he be in a relationship?

One intelligent scene mentions that a Pope should not be sure of his faith and should question it. Traditions can be tweaked for the times. A conservative leader mocks the Pope for ruining the Catholic Church with whimsical decisions embracing the current times. Another liberal leader doesn’t think he went far enough.

It’s easy to see that Berger/Straughan/Harris have Pope Francis, who was elected in 2013, in mind. Having strongly brought more progressive thought to the Catholic Church, it’s easy to see the representation.

Fiennes gives a powerful performance as a decent man who tries to do the right thing without favoritism or conflict. He is subdued but strong-willed, and the performance is understated. He gives so much to a role that could be mistaken for too little.

Volker Bertelmann composes the score, which is reminiscent of All Quiet on the Western Front. It has a soft tone, is not bombastic, and slowly increases intensity during scenes. The buildup is tense and magnificent.

Conclave (2024) is a human story about humanity and imperfection. It’s also about human complexities, mistakes, and kindness. It magnifies the scope of the Catholic Church and reminds audiences that those shrouded within its wall are not without imperfections.

It also reminds us that even the Catholic Church has corruption.

The Good Liar-2019

Director-Bill Condon

Starring-Ian McKellen, Helen Mirren

Scott’s Review #1,201

Reviewed November 26, 2021

Grade: B+

The Good Liar (2019) is a well-acted film but by the numbers, the thriller made as good as it can be thanks to superior acting. Casting British heavyweights Ian McKellen and Helen Mirren automatically provide enough star power and credibility to save any lame plot.

This is the first time the actors have appeared in a film together though they have appeared on stage together.

The film moves along at a brisk pace and there is never a moment of boredom. While the main storyline at first is intriguing, the inevitable twist at the ending is satisfying. Suspension of disbelief is required and a portion of the backstory is unnecessary.

Nothing is as it seems.

Roy Courtnay (McKellen) is a dashing career con man. He is suave and used to getting what he wants out of people- to his advantage and their disadvantage. He cagily dips into the online dating pool and stumbles upon an older woman named Betty McLeish (Mirren) ripe for the picking. She is rich, divorced, and lonely.

What could go wrong?

As Betty opens her life and home to him, Roy is surprised to find himself caring about her, turning what should be a cut-and-dry swindle into the most treacherous tightrope walk of his life.

Betty’s grandson, Steven (Russell Tovey), is a constant annoyance to Roy when he questions Roy’s intentions urging his grandmother to be wary of the man.

As the plot begins I kept thinking that there is no way that Betty could be so gullible, lonely or not. This kept me engaged until the big reveal that fills the final thirty minutes or so. If The Good Liar did not contain something more than the banal plot it would have been a real dud.

To continue with the storyline element the ultimate motivations of Betty, while clever, are hard to believe. Not to ruin any plot points but the whole Nazi element from the 1940s feels superfluous and easy. The revenge motives feel extremely plot-driven and meant as a thrown-in explanation.

From a timeline perspective, it also doesn’t make much sense and if events take place during present times it would put Roy and Betty in their 90’s! The characters are assumed to be in their mid-70’s.

Nonetheless, despite Roy being the villain I fell in love with him. His shenanigans appealed to me despite my better judgment. His trickery when he feigns a knee injury to manipulate Betty while dashing into a corporate meeting minutes later was enamoring instead of mortifying.

The chemistry between McKellen and Mirren is tremendous since both actors know their way around carrying a film and are confident with their abilities. This comes across onscreen and the romantic element works.

The Good Liar also gets respect from me for featuring actors in their golden years in leading roles.

Bill Condon has directed a variety of films including Chicago (2002) and Dreamgirls (2006). The Good Liar is hardly on this level nor is it one of his finest but the director adds enough seasoning to assure a compelling experience.

The locales of London and later of Berlin, Germany is robust and a treat for any viewer who is partial to the international filming. I am! Plenty of busy London streets and German architecture appear during the film.

The slickness and excellent acting by McKellen and Mirren save The Good Liar (2019) from the drivel it might have been with lesser actors and inferior direction. Instead, it’s a clever film that toys with its viewers keeping them engaged until the very end.