Tag Archives: Richard Curtis

2003 Films, Alan Rickman, Andrew Lincoln, Bill Nighy, Billy Bob Thornton, British, Chiwetel Ejiofor, Christmas, Claudia Schiffer, Colin Firth, Comedy, Denise Richards, Emma Thompson, Gregor Fisher, Heike Makatsch, Hugh Grant, January Jones, Joanna Page, Keira Knightley, Kris Marshall, Laura Linney, Liam Neeson, Lúcia Moniz, Martin Freeman, Martine McCutcheon, Richard Curtis, Rodrigo Santoro, Romantic Comedy

Love Actually-2003

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Love Actually-2003

Director Richard Curtis

Starring Hugh Grant, Emma Thompson, Liam Neeson

Scott’s Review #1,438

Reviewed September 8, 2024

Grade: B

Love Actually (2003) is a British romantic comedy perfect for watching around the holidays, especially on Christmas Eve. Perhaps even on Valentine’s Day, the setting is tinsel-laden and filled with holiday merriment and sweetness.

It involves an ensemble cast of dozens but surprisingly not hard to follow. The myriad of stories had me naturally more invested in some than others, preferring the heavy drama to the silly side plots.

The film begins beautifully as a voice-over narrator sets the stage and message of love. He ruminates about pure and uncomplicated love of lovers, and friends, and points out that the messages from the 9/11 victims were messages of love and not hate.

The story then switches among the interconnecting “love stories” of many people.

The quick segment nearly left me in tears and to let the poignant message sink in.

I was pleasantly surprised to find nine stories some of which intersect with others. I am a fan of this type of storytelling but not all of them connect with others which might have made it too confusing or even better layered.

Some stories are not given a lot of exposure but the balance feels close to right.

I preferred the first half of Love Actually to the second. I had heard of the film and finally watched it twenty years later but anticipated more of a sappy romantic comedy than anything of substance, especially since the rom-com master Hugh Grant stars.

I immediately felt an emotional connection to stories like the United Kingdom Prime Minister (Grant) and his romantic connection with Natalie (Martine McCutcheon), a junior member of his household staff. This ‘boy meets a girl from the wrong side of tracks’ felt authentic and laden with possibilities.

Another win is the love story between Sarah (Laura Linney) and handsome creative director, Karl (Rodrigo Santoro). Their buildup and near tryst after a Christmas party had me in their corner, and rooting for the pair to overcome an obstacle involving Sarah’s dependent brother.

Finally, my favorite couple is writer Jamie (Colin Firth) and his Portuguese housekeeper, Aurélia (Lúcia Moniz). Their sweetness and innocence are gleeful and true and rooting for them to get together despite language barriers was easy. 

Richard Curtis, who directs and writes the screenplay, misses an opportunity when he creates an unfulfilling love triangle between newlyweds Juliet (Keira Knightley), Peter (Chiwetel Ejiofor), and best man Mike (Andrew Lincoln). Initially unclear if Mike is smitten with Juliet or Peter the traditional route is chosen instead of an LGBTQ+ presence.  

In one story, the horny British lad named Colin (Kris Marchall) unsuccessfully tries to woo British women and decides to go to America to get laid. Predictably, he meets one hot woman after another in the mid-west USA.

This story is hokey and could have been dropped altogether in favor of more screen time for the more interesting stories.

In the final act, I was disappointed when the film teeters too much towards cheesy with a tepid Christmas pageant where many stories come to a head.

This culminates with a silly chase throughout Heathrow Airport where one character jumps security and outwits inattentive airport personnel to catch his love interest before she leaves on a flight to New York.

Since 9/11 is mentioned in the beginning this tired plot device is surprising given the times of heightened terrorism and deserved respect for airport security.

Curtis rips off Paul Thomas Anderson’s Boogie Nights (1997) in the epilogue by using the same song, ‘God Only Knows’ by the Beach Boys, and the same wrap-up of what happens to the characters.

Despite the thievery, I did enjoy seeing what happens in my favorite stories.

Love Actually (2003) wobbles a bit by trying to have all nine stories pack a punch but the effort is nice and the message of love closes out the film.

We know happiness and Christmas miracles usually don’t pan out but it’s nice to escape and pretend they do.

2011 Films, Benedict Cumberbatch, David Thewlis, Drama, Emily Watson, Jeremy Irvine, Peter Mullan, Richard Curtis, Steven Spielberg, Toby Kebbell, Tom Hiddleston, War

War Horse-2011

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War Horse-2011

Director Steven Spielberg

Starring Jeremy Irvine, Emily Watson

Scott’s Review #1,268

Reviewed June 19, 2022

Grade: B+

Director Steven Spielberg has an enormous catalog of films to rank and paw over. From his dabble into the horror genre with Jaws (1975) to fantastical melodramas like E.T. the Extraterrestrial (1982), his best work to me is the dark and powerful Schindler’s List made in 1993.

The recent remake of West Side Story (2021) is also brilliant.

My point in mentioning a few of his films is to compare them to War Horse (2011). The film is mediocre when comparing it to the great director’s filmography but there is no doubt the film is extremely well made, lavishly directed, with a wonderful and heartfelt storyline that will make suckers of most viewers.

The main result is that the film doesn’t resonate very much beyond the closing credits especially when matched against Spielberg’s other films.

War Horse did achieve several Oscar nominations mainly because it’s a Spielberg film after all but came away empty-handed. This is not surprising because it’s the type of film that is trying to get awards notice.

A successful Broadway adaptation preceded the film which was also based on a novel of the same name from 1982.

Albert (Jeremy Irvine) and his beloved horse, Joey, live on a farm in the British countryside. At the outbreak of World War I, Albert and Joey part ways after Albert’s father sells the horse to the British cavalry out of necessity.

Against the backdrop of the war, the horse begins a journey full of danger, joy, and sorrow, as he transforms everyone he meets along the way.

Meanwhile, Albert, unable to forget his friend, searches the battlefields of France to find Joey and bring him home.

It’s interesting to see the different settings and situations the horse gets into. From England to Germany to France, so many cultures are explored. Joey even bonds with another horse named Tophorn, a black stallion.

The film is as syrupy and sentimental as the summary suggests and that is okay. I fell for the story hook, line, and sinker. Seeing the film in a movie theater on the big screen was a wise choice because the sentimentality oozes to audiences leaving not a dry eye in the house.

Spielberg polishes and shines his film like nobody’s business utilizing all the lavish Hollywood trappings like superior editing, sound, and cinematography.

It’s a Hollywood film plus a hundred.

Despite a safe-leaning film Spielberg wisely does not skate over the ravages of war. Several characters that the horse encounters die tragically leaving him in a state of temporary peril.

Unsurprisingly, War Horse satisfies those audiences seeking a fairy tale ending but the fun is the journey we are taken on.

Actor Jeremy Irvine appearing in his big-screen film debut is exceptional and quite likable. War Horse may be his pinnacle film since he hasn’t done all that much since this meaty role.

The main takeaway is friendship and the bond between human beings and animals which cannot be severed. The mere thought of this brings a tear to my eye and Spielberg wisely manipulates the audience, whisking them away on a journey of forever friendship.

This is not exactly a bad thing.

The war backdrop is a fine addition and the exquisite beach scenes and the glossy images of the horse are fantastic. Hundreds of horses were used and clever editing provided rich and authentic texture.

War Horse (2011) is a film with all the standard characteristics of an old-style film that Hollywood used to make. The sum of the parts doesn’t add up to much beyond the experience and it’s not a film worth seeing over and over.

It’s a one-and-done affair but a lavish production of heartfelt ideals.

Oscar Nominations: Best Picture, Best Art Direction, Best Cinematography, Best Original Score, Best Sound Editing, Best Sound Mixing

2019 Films, Comedy, Musical, Richard Curtis

Yesterday-2019

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Yesterday-2019

Director-Danny Boyle

Starring-Himesh Patel, Lilly James

Scott’s Review #952

Reviewed October 29, 2019

Grade: B-

Yesterday (2019) is a film that is silly but sentimental, oozing with a nice quality that becomes tiresome towards the conclusion. For those seeking a safe experience, the film will be deemed as wonderful, but for those with an appetite for a left of center grit, the film will only marginally entertain. It’s safe.

Director, Danny Boyle (2008’s Slumdog Millionaire) again chooses a charismatic British-Indian actor, Himesh Patel, in the starring role, in a film any fan of the rock band The Beatles should see.

Jack Malick (Patel) is a struggling musician who resides in Lowestoft, England, a suburb of London. Unsuccessful, he is nonetheless encouraged by his manager and childhood friend, Ellie (Lilly James), to reach for the stars and never give up his dreams of achieving success.

One day he is hit by a bus during a global blackout and is hospitalized with a head injury and missing teeth. When he performs the Beatles song “Yesterday” for his friends they are blown away by its genius. Jack realizes that the entire world has never heard of the legendary band and capitalizes on the stroke of luck, becoming a rock n roll superstar.

The massive song catalog of the Beatles featured in Yesterday is the best part of the film. The pleasure is in wondering which songs will appear next and in what context. Jack awkwardly “debuts” the song “Let it Be” to his parents, who continuously botch the name of the song, only showing mild interest.

Next, Jack furiously attempts to remember the lyrics to “Eleanor Rigby”, a difficult song lyrically. Other gorgeous classics featured are “The Long and Winding Road”, “Here Comes the Sun”, and “Something”.

A sentimental nod and appearance of a John Lennon figure is a nice touch and a worthy dedication to the deceased legend. The key here is wondering what would have become of the assassinated star had he not been famous.

The film approaches this when revealing that Lennon would today be an old man- Lennon tells Jack in a sentimental scene that he has lived happily with his wife by his side. If only this had been the case.

Patel is charming and a character to root for. As the butt of jokes made by his friends, who truly adore him, he is neither the handsome lead nor the wimpy co-star, more of a hybrid of the two.

We want him to achieve musical success because he is a nice guy but is glad when he finally fesses to the phony plot, as predictable as that point is to the film. Patel’s best scenes occur on-stage when he either rocks out to the guitar or adorns us with a piano ballad.

Other than the above notes, Yesterday is only mildly entertaining mixing a musical with a romantic story that does not work. If the audience is expected to root for Jack and Ellie to get together then the idea falls flat.

The pair have no chemistry nor is Ellie even remotely written as being the type who will live the rock n roll lifestyle or want to. She is an elementary school teacher and asks Jack to give up his dream and lead a simple life in the suburbs. Who would do that?

Yesterday is riddled with stock characters, some of whom may or may not exist in real life. As much as I love actress/comedian Kate McKinnon, her overbearing character of Debra Hammer doesn’t showcase her best work.

Driven and cold, the character is played for laughs with her over-the-top behavior, but it feels too much like a part written to showcase McKinnon. Jack’s parents are cliche-filled characters doting around with confused expressions and seeming to be overwhelmed by all events.

A musical film that cringes with a safe and saccharin feel saved only slightly by the bevy of mostly 1960’s hits by the Beatles, some of which lyrically is dissected and showcased.

Yesterday (2019) includes pop star Ed Sheeran, who cannot act, and does anything for the film. Way too polished and superfluous for its good, Boyle, a worthy director, should have added some edginess rather than going for safe pop.

Thank goodness the film is about the Beatles rather than the Backstreet Boys.

2018 Films, 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.