Tag Archives: Rebecca Ferguson

2021 Films, Adventure, Dave Bautista, Denis Villeneuve, Epic, Fantasy, Rebecca Ferguson, Science Fiction, Timothée Chalamet

Dune-2021

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Dune-2021

Director-Denis Villenueve

Starring Timothee Chalamet, Rebecca Ferguson, Oscar Isaac

Scott’s Review #1,282

Reviewed July 29, 2022

Grade: B

Dune (2021) is a film that under normal circumstances I would not have seen. I’m not a huge blockbuster, fantasy film kind of guy. If not for the slew of Oscar nominations the film received, ten to be precise, Dune probably would have flown under my radar.

I needed to see what all the fuss was all about.

Paul Atreides (Timothee Chalamet), a brilliant and gifted young man born into a destiny that he doesn’t completely understand, must travel to the most dangerous planet in the universe to ensure the future of his family and his people.

As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence, only those who can conquer their own fear will survive.

My assessment of the film before even viewing it proved correct. It’s an epic-length, science-fiction, fantasy type of adventure film all rolled into one. I liken it to the unwieldy Lord of the Rings (2001-2003) trilogy in tone and content and a peculiar reminiscence to the popular television series Game of Thrones (2011-2019).

For most of Dune, my attention was squarely glued to the story as well as the astounding cinematic grandiose trimmings. I knew if I didn’t pay close attention I would quickly be out in a left field (I’ve made this mistake before).

Overall, I admired Dune and struggled to grade it either a B or a B+ finally deciding on the latter. The visuals are astounding and cleverly show off what can be done with enough CGI to make a film a marvelous spectacle.

But, for me, there needs to be more and I struggled after a while with the plot.

The story is too confusing. Why does every fantasy, or epic film need to be so deep in the plot with too many characters to keep track of? It started off okay and I was clear who Paul’s family is, and more or less who the good guys are. But then other groups like the Fremen (who I think are good) and House Harkonnen (who are all bald and I think are bad) are introduced, and a battle over valuable spice ensues.

To complicate matters, Paul suffers from strange dreams/visions mostly involving a young girl and some battle scenes involving Paul’s connection to a mysterious sword. He can also command without speaking, somehow.

I had no prior history to draw from which in retrospect did me a disservice. Dune began as a novel in 1965 written by Frank Herbert and was turned into a 1985 film directed by David Lynch which was deemed a disaster.

I probably should have read the book.

To be fair, the acting is quite good, especially by Chalamet and Isaac, completely believable as father and son. Their connection and chemistry are pliable but there is not enough of it. Instead, the main focus is Paul’s relationship with his mother, played by Rebecca Ferguson.

Chalamet, already an Oscar-nominated actor for Call Me By Your Name (2017), has the chops to carry a film.

Other worthy turns are by legendary British actress Charlotte Rampling as a Reverend Mother, and Javier Bardem as Stilgar, leader of the Fremen tribe.

Despite the over two and a half hour running time Dune does not drag. The bright sweeping desert scenes featuring a pulsating underground worm, mixed well with darker scenes in the Harkonnen’s lair.

Dune (2021) is made incredibly well and is a clear spectacle. I found it too similar to other genre films to give it a thumbs up unless you are already a fan of the novel, but this style of cinema may not really be my cup of tea.

Villeneuve, who directed Blade Runner 2049 in 2017 knows his way around the fantasy genre and is perfectly capable. He is directing Dune: Part II to be released in 2023 so I’d expect more of the same.

Oscar Nominations: Best Picture, Best Adapted Screenplay, Best Original Score (won), Best Costume Design, Best Sound (won), Best Film Editing (won), Best Makeup and Hairstyling, Best Cinematography (won), Best Production Design (won), Best Visual Effects (won),

2019 Films, Horror, Jacob Tremblay, Rebecca Ferguson

Doctor Sleep-2019

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Doctor Sleep-2019

Director-Mike Flanagan

Starring-Ewan McGregor, Rebecca Ferguson

Scott’s Review #1,026

Reviewed May 22, 2020

Grade: B

Based on the 2013 novel of the same name written by Stephen King, a sequel to his own 1977 novel The Shining, Doctor Sleep (2019) is also a direct sequel to the film adaptation of The Shining (1980).

Events are set several decades after the events of the original and combine elements of the 1977 novel as well. A fun fact is that King hated the film version of The Shining but approved of the script for Doctor Sleep.

The first and last parts of the film are superior to the rest, succeeding mostly when elements of The Shining are incorporated. The rest meanders and teeters too much into supernatural and computer-generated imagery territory, taking away from the haunting ghost story elements that made the original The Shining such a frightening treasure.

Ewan McGregor plays Danny Torrance, the little kid scarred from the trauma he suffered when his father Jack went mad at the looming Overlook hotel decades earlier. Danny, now a grown man and a suffering alcoholic, lives a life that is out of control, suppressing his “shining” gifts that allow him to possess psychic abilities.

Hitting rock bottom, Dan moves to a tiny town in New Hampshire and befriends Billy Freeman (Cliff Curtis) who sponsors him in AA. Dan is regularly visited by the spirit of Dick Hallorann, the deceased chef from the hotel who teaches Dan how to contain his demons.

Meanwhile, the True Knot, a cult of psychic vampires led by Rose the Hat (Rebecca Ferguson), extend their lifespans by consuming “steam”, a psychic essence released as they torture and kill those who have the shining.

They mostly feed on young children and pursue Abra Stone (Kyleigh Curran), a young girl whose shining is even more powerful than Dan’s. She communicates telepathically with him and forms a pact to destroy Rose and her cronies.

Let’s take the good with the bad.

The film gets off to a very good start with the recreation of scenes from The Shining when Danny rides his big wheel throughout the winding 1970’s style hallways of The Overlook and gazes at the forbidden Room 237.

The synth musical score that made The Shining atmospheric and unforgettable are also included as the bass-infused heartbeat is showcased amid overhead camera angles, a clear ode to The Shining.

The finale of Doctor Sleep comes full circle as Dan and Abra travel from New Hampshire to snowy Colorado and revisit the Overlook, now tattered and ill-forgotten from decades of abandonment.

The showdown between Dan, Abra, and Rose treats fans to clips of Jack Nicholson and Shelly DuVall. Visits from familiar characters and sets like the ghostly bartender, the conjoined twins, the wrinkled old naked woman, the gushing elevator blood, and the hedge maze make their returns providing a lovely feeling of nostalgia.

Unfortunately, betwixt the first thirty minutes and final thirty minutes sits another ninety minutes of screen time that doesn’t always work. For starters, a running time of two hours and thirty-two minutes feels too long for a horror film and the filler lying in between is that much more obvious.

The action meanders especially given the anticipated final battle which is inevitable.

Taking nothing away from either Ferguson or Curran, who are fine in their respective roles of Rose and Abra, neither are they the most interesting aspects of Doctor Sleep either. They are new characters in the novel and therefore the film but are secondary to Dan and his intricate relationships with Jack, Wendy, and Dick.

The only story parts that were interesting to me were the connections and thoughts that Dan had to experiences forty years earlier.

The battle scenes between Rose, Abra, and other characters do nothing for the story and take the film too far in the direction of the supernatural and slick technological aspects that The Shining didn’t need.

Since Doctor Sleep was made based on successful recent King adaptations of It Chapter Two (2019) and Pet Sematary (2019) perhaps this is the reason for the modern add-ons.

If Doctor Sleep (2019) could be sliced and diced to eliminate the guts and keep the bookends of the beginning and finale the result would have paid proper homage to The Shining (1980), instead we get only halfway there.

The film has some nice elements and stays true to its history but contains a few unnecessary tidbits to make it not great. And how can a film ever compare to the greatness of The Shining (1980)?

2017 Films, Musical, Rebecca Ferguson

The Greatest Showman-2017

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The Greatest Showman-2017

Director-Michael Gracey

Starring-Hugh Jackman, Michelle Williams, Zac Efron

Scott’s Review #707

Reviewed December 26, 2017

Grade: A-

A pure musical, escapist film, The Greatest Showman holds a dear and relevant message and elicits hope for outcasts everywhere by leading a story of acceptance and perseverance in the feel-good film of 2017.

Hugh Jackman leads the pack, starring as P.T. Barnum, a man struggling to create an entertainment show with live and unusual performers- deemed “freaks” in those days- the 1800’s in New York.

The film is quite joyful and light with many cheery musical numbers sure to leave audience members humming along for hours after the conclusion of the film. The Greatest Showman is a rag to riches story and a thoroughly enjoyable film.

Jackman is charismatic and likable as the entrepreneur and showman, Barnum, who we meet as a young boy, the son of a poor tailor. He becomes enamored with wealthy young  Charity (Michelle Williams) and the two eventually marry, much to the chagrin of her pompous parents.

Barnum and Charity at first struggle to make ends meet as they begin to raise a family, but eventually, find success and wealth when the show succeeds.

The film chronicles Barnum’s rise to fame and the trials and tribulations (romantic, business) for several years, mainly through musical numbers. Zac Efron is wonderful as Barnum’s eventual business partner, Phillip Carlyle.

The supporting characters that director Michael Gracey offers up are creative, if not typical mainstays of carnivals and circuses everywhere- the bearded lady, the fat man, and a man covered in tattoos are featured prominently.

Unclear to me is whether these characters actually existed or are created simply for plot purposes, but rumor has it that The Greatest Showman has taken great liberties with the factual accuracy of the real P.T. Barnum and his escapades.

This would be bothersome if not for the wonderful message this film contains- acceptance and celebrating diversity.

Certainly, in today’s chaotic world this is of prominent importance for young people everywhere.

Those expecting anything of more substance than a cheery and bright holiday slice of enjoyment may be disappointed- some mainstream critics were not too high on this film, but I am okay with a little escapist adventure on occasion.

The message throughout The Greatest Showman is quite good.

The best musical number is the show-stopping and anthemic “This Is Me”, and Keala Settle is fabulous as the bearded lady, who leads this important song. The number is empowering and energetic.

The chemistry between Jackman and Williams is not remarkable, but not altogether vacant either. Rather, it is simply decent, and not the film’s strongest point. I sense better chemistry between Jackman and Rebecca Ferguson as grand Swedish singer, Jenny Lind.

Their “romance” is unfulfilled however and we will just need to imagine the possibilities of that one.

I adore seeing Efron in quality roles (think 2012’s exceptional The Paperboy) and his performance as Phillip is great. Sharing a good bond with Barnum, he has his romance with acrobat, (and of mixed race) Anne Wheeler.

His values and earnestness make the character very appealing as he is torn between riches and standing on principle.

The Greatest Showman may not go down in history as the ultimate tops in filmmaking or even one of the best musicals, but the film does succeed in dazzling the audience and providing a couple of hours worth of fun and entertainment- similar to the way P.T. Barnum energized the crowds with a slice of make-believe, this is more than appropriate.

Oscar Nominations: Best Original Song-“This Is Me”

2016 Films, Biography, Drama, Hugh Grant, Meryl Streep, Rebecca Ferguson, Simon Helberg, Stephen Frears

Florence Foster Jenkins-2016

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Florence Foster Jenkins-2016

Director Stephen Frears

Starring Meryl Streep, Hugh Grant

Scott’s Review #613

Reviewed January 30, 2017

Grade: B

Director Stephen Frears loves to direct films starring vehicles for mature actresses. Judi Dench, Helen Mirren, and Meryl Streep have benefited vastly from his direction (all received Oscar nominations).

In Florence Foster Jenkins (2016), Frears crafts a warm-hearted tale about a famous real-life opera singer, the title character of whom is played by Meryl Streep.

The film is likable but not up to par with other Frears’ gems, specifically Philomena (2013) or The Queen (2006).

Given the subject matter, the film is too safe for my tastes and should have been darker.

Florence Foster Jenkins was a New York City socialite and heiress who flourished in 1944. She founded the Verdi Club and did a great deal of good for music, specifically opera, which she adored.

Her husband, Bayfield, played by Hugh Grant, nicknames her “Bunny.” He reveres her, but not physically—he resides elsewhere with a girlfriend.

This is due to Bunny being afflicted with long-term syphilis, causing her to be medicated and rendering her bald and unable to engage in sexual relations.

Bunny is a wretched, flat singer; despite her passion for singing, everyone convinces her how wonderful she is because she is so well-regarded in her social circle. Many people are paid off in exchange for their support.

Due to Bunny’s medication, it is assumed that she cannot hear properly, leaving her unaware of how badly she sings. Bunny is now determined to sing at Carnegie Hall, and Bayfield must scramble to make sure no critics are anywhere in sight for the big show, saving his wife from humiliation.

Any film starring Meryl Streep is assured to be fantastic from an acting standpoint, and, per usual, she does not disappoint. Streep envelopes the role of Bunny, giving her charm and a vulnerability that only Streep can do.

Although the character knows what she wants and is stubborn, she is also kind, and we see passion oozing from her pores.

Streep is the highlight and the draw of the film.

Hugh Grant deserves kudos, and I liked the chemistry between the two actors. Although seeking physical relations with another woman may make him appear a cad, Grant also gives Bayfield sensitivity and genuine care for his wife.

They have “an arrangement,” but he hides his girlfriend when Bunny shows up unexpectedly, not wanting Bunny to be embarrassed.

Grant’s and Streep’s scenes together are tender and believable.

Like Bunny’s pianist, McMoon, Simon Helberg also positively influences the film. Hired to accompany Bunny’s singing, he is initially appalled and bemused but finally understands Bunny, coming to love and respect her for who she is.

The character is clearly gay (the film never comes out and says this), but gay themes are common in Frears films, and it is a non-issue among the principal characters, excellent, but perhaps unrealistic for that time.

A flaw of the film is the lack of any purely great moments. I suppose the climax at Carnegie Hall should have been it, but I did not wholly buy the entire film.

Even the crowd’s laughter and mocking of Bunny seem to be done in a soft, light way.

Nonetheless, Florence Foster Jenkins (2016) is a decent offering, and Streep is the ultimate selling point.

The costumes are also great.

Oscar Nominations: Best Actress-Meryl Streep, Best Costume Design

2016 Films, Édgar Ramírez, Rebecca Ferguson, Thriller

The Girl on the Train-2016

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The Girl on the Train-2016

Director-Tate Taylor

Starring-Emily Blunt, Justin Theroux

Scott’s Review #493

80105068

Reviewed October 12, 2016

Grade: B+

The apparent must-see film of fall of 2016, with seemingly everyone flocking to see the blockbuster, I happily was able to see it shortly upon release.

While containing some flaws, The Girl on a Train is a very good thriller- and a great companion piece to Gone Girl- similar in style, tone, and in a way, story. A whodunit with psychological, almost Hitchcockian elements, it navigates twists and turns to an unfortunate disappointing finale.

Still, a more than adequate offering that does not bore.

Based on the hit novel of the same name, which I understand is superior to the film.

First and foremost, how gorgeous was the scenic eye candy of suburban New York City, where the train chugs along the Hudson River in breathtaking beauty?

Affluent houses are nestled along the river banks hidden with secrets- which is the point of the film. Beautiful neighborhoods are often riddled with affairs, drama, and back-stabbing.

The setting was perfect as was the element of the train- peering through windows to witness smoldering events.

The standout of the film is Emily Blunt, who gives a compelling, sometimes heartbreaking turn as a boozy, jobless, young woman fraught with heartbreak after heartbreak. She finds solace on the Metro-North train as she peers into a particular well-to-do house, making up stories about a young woman she re-names daily, usually while inebriated to the state of blackouts.

Though The Girl on the Train is not the typical “Oscar type film”, I’d argue that a potential nomination is warranted for Blunt, who is brilliant on her emotional roller coaster.

Rachel fantasizes about being the stranger’s friend, revealing her desperation. We quickly learn about her life circumstances and feel empathy.

I anticipated an experience like Hitchcock’s classic Rear Window- Rachel Watson noticing a crime occur and somehow becomes involved in the situation. This is partly true, but different altogether. I was, however, treated to a film that never lags or waivers and the action is plenty- not in bombs or car-chase way, but instead a circulating array of plot twists and emotions.

How wonderful to see Allison Janney, Lisa Kudrow, and Justin Theroux in a big-budget, mainstream film, rather than independent small films (certainly not a knock, but good to see some wide recognition).

All three knock the material they are given out of the park, and kudos to the writers for making Kudrow- in little more than a cameo- a major part of the great reveal.

Arguably, Janney’s character of Detective Riley is the weakest written and seems to change motivations depending on the story shift. This is perplexing and too plot-driven.

In a way, the same might be said for Theroux’s character of Tom Watson, but, alas it is a thriller and this sometimes does happen in this genre.

Without giving much away, the conclusion to the film is unsatisfactory. We are given an ending that is wrapped up in a neat, tidy bow, which contradicts the rest of the film.

The film is confusing, dream-like, and muddled- in a good way. We are disturbed by Rachel’s thoughts and wonder what the reality is. The climax is too clear and instead of leaving much to the imagination, we are fed a linear, straightforward, story ending, almost geared for a Hallmark television movie (gag).

Wise would have been to write Rachel as still vague about her surroundings, but this does not occur.

The Girl on the Train will not re-define cinema or go down in history as fine art, but it is not intended to-it is the type of film designed to keep you on the edge of your seat and does so.

The story is above average and slick, but Blunt is worth heaps of praise and is head and shoulders above the rest of the film- and the cast- no small feat considering the talent involved.

Great acting job, but the writing could have been slightly better.