Review #966: 'Cinderella' (2015)

Kenneth Branagh's live-action re-telling of the famous Cinderella story does not attempt to offer any kind of fresh spin on one of Disney's most beloved movies. Where the likes of Snow White and the Huntsman (2012) and Maleficent (2014) played out well-worn fairytales from a different perspective, changing the entire outlook of the tale in the process, the 2015 version of Cinderella alters very little and adds even less. The real stars of the movie are the set and costume design which, with the exception of Cinders' rather drab ballgown, are sadly the only hint of magic on show here.

Ella (Downton Abbey's Lily James) lives happily in her peaceful kingdom with her loving mother (Hayley Atwell) and kind father (Ben Chaplin), who teach her of the existence of magic from a young age. After her mother takes ill, Ella is told to be courageous and kind with her final dying words. Years later, her father attempts to fill the void in his life by marrying the recently-widowed Lady Tremaine (Cate Blanchett), who brings her two deplorable daughters Drisella (Sophie McShera) and Anastasia (Holliday Grainger) to his home to live. When Ella's father also dies on a business trip, the Lady Tremaine reveals her dark side, dubbing the young girl Cinderella and forcing her to live in the attic while tending to their every need.

While the 1950 version can be forgiven for its rather old-fashioned patriarchal ideas of young girls fantasising about marrying rich and escaping the blandness of their existence, times have moved on and such an over-simplification of an entire gender in modern film-making really has no place. The moral message of showing kindness is of course eternally relevant, but James, aside from having a naturally sweet demeanour, injects very little personality into her character. The bulk of the first half is made up of trying to develop these themes, but without any songs to distract or cutesy animals to provide the chuckles, the narrative seems to move along with the urgency and excitement of an ITV Catherine Cookson adaptation.

It only really kicks into gear when the Fairy Godmother (Helena Bonham Carter) shows up to help Cinderella on her journey to the King's palace, where the Prince awaits every maiden in the land as he searches for a wife. Although the pumpkin transformation looks very nice, her other creations - including two unfunny lizards - are rather grotesque creations unworthy of a bippity-boppity-boo. Game of Thrones' Richard Madden plays the prince blandly but handsomely, while the long-awaited dance with his Princess-to-be lacks the magic of the cartoon version. Ironically, the Prince finds himself in the same situation as that of his most famous role, Robb Stark - promised to one but insistent on another - but there is sadly no bloody massacre at the end of it all to liven things up. Aesthetically lovely but ultimately soulless.


Directed by: Kenneth Branagh
Starring: Lily James, Cate Blanchett, Richard Madden, Helena Bonham Carter, Nonso Anozie, Stellan Skarsgård, Sophie McShera, Holliday Grainger, Ben Chaplin
Country: USA/UK

Rating: **

Tom Gillespie

Review #685: 'Thor: The Dark World' (2013)

One of the surprising successes to come out of Marvel's (now Disney's) ever-increasing catalogue of superhero CGI-fests, was 2011's Thor. Somehow Kenneth Branagh managed to avoid any possible silliness in the story of the super-powered, bleach-blonde Asgardian God battling against his greasy-haired brother and save Earth from destruction. Thor tended to stay away from the gold-plated, computer-generated tedium of Asgard and told a slightly comedic fish-out-of-water tale that was both charming and, even surprisingly, emotionally complex. The sequel, directed by HBO veteran Alan Taylor, spends less time on Earth and more time zapping around the other worlds that make up the universe's Nine Realms.

In a backstory-heavy introduction, we learn that a powerful 'Dark Elf' Malekith (Christopher Eccleston) was the leader of a powerful race that tried to use an energy source called the Aether to plunge the Nine Realms into darkness, but was overthrown by Thor's (Chris Hemsworth) grandfather, Bor. With Malekith defeated, Bor hides the Aether in a stone column, establishing a new era of peace across the Realms. On present-day Earth, Thor's old flame Jane Foster (Natalie Portman) accidentally discovers the Aether, which is absorbed into her body. Malekith, who has being lying dormant for years, is re-awoken by this event and seeks the Aether for himself, but not before Thor manages to whisk Jane back to Asgard.

It's a typically McGuffin-riddled story that Marvel have managed to turn into a multi-billion dollar franchise, that simply allows the superhero to get from point A to point B in order to face the new big baddie in town. The Dark World is a loud, convoluted and epilepsy-inducing mess of huge battles and CGI landscapes, but, even if you can't get your head around the ridiculous, head-spinning plot, it's sure entertaining. But what The Dark World lacks is the tongue-in-cheek charm of the first film, insisting on making the story and tone 'darker', and moves the action to the sickly world of Asgard.

What it does boast, is the return of the superb chemistry between Hemsworth and Tom Hiddleston, the latter as the imprisoned Loki, forced to reflect after the near-apocalypse of The Avengers (2012). It has been reported that Loki's involvement was beefed up significantly post-production, and his sneering, malevolent, yet wounded presence is welcome, especially when Thor is forced to team up with his brother to tackle Malekith. This, however, came at the expense of Eccleston's pointy-eared menace, whose back-story and screen-time were reduced so harshly that you almost forget he's there. Portman's Jane Foster is still, unfortunately, a bland bore, mad at Thor for not calling in two years. He was saving the world, love.

Ultimately, Thor: The Dark World is sporadically fun, punctured by moments of CGI tedium and head-spinning exposition (usually delivered by Anthony Hopkins' bored-looking Odin), that often evoke the unnecessary complexity of the rather painful Pirate of the Caribbean sequels. When the portals start appearing and the wrestling Thor and Malekith begin to throw each other between different worlds within the Nine Realms, I held my hands up and just gave up. And maybe this is the approach to take - just simply let it play out in front of your eyes, enjoy the charisma of Hemsworth - who delivers another delightful performance - and pray that someday Marvel will give Loki his own movie.


Directed by: Alan Taylor
Starring: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Christopher Eccleston, Idris Elba, Kat Dennings, Stellan Skarsgård
Country: USA

Rating: ***

Tom Gillespie

Review #261: 'Melancholia' (2011)

I wrote a review for Lars Von Triers previous film, Antichrist (2009), so I won't reiterate his 'agent-provocateur' profile outside of his films. I also have to confess that I've never really been much of a fan of his work. The aforementioned, I found intriguing, The Idiots (1998) was OK. Other than Breaking the Waves (1996 - which whilst utterly depressing, was a fine film), I can't say that his films have enlightened me in any way. His approach has always been interesting though. Now to his most recent effort. Melancholia, whilst forming around the concept that a planet (Melancholia) is heading towards Earth, the film is largely focused upon the relationship between siblings Justine (Kirsten Dunst) and Claire (Charlotte Gainsbourg), who are, emotional, polar opposites. The film is split into two chapters, each with the sister's names as titles.

The first half focuses on Justine, and specifically her wedding reception. This part of the film plays much like another of the Dogma '95 films, Thomas Vintererg's excellent Festen (1998). We are introduced to Dunst's character as someone fleeting. She constantly leaves the party, sporadically moving around outside of family and friends. We know from this that she is without conscience when considering people around us. We see in this section that Justine is a person attracted to chaos; she despises order. This is perfectly illustrated in a scene in the bridal suit, where coitus is about to take place. Her new husband, Michael (Alexander Skarsgard), begins taking his clothes of, folding each element of garment and carefully laying them down. This show of order seems to frighten Justine, as she leaves.

In chapter two, the main focus is on the sister, Justine. She has a seemingly austere life, married to John (Kiefer Sutherland) with a young son. They stay in what seems to be a manor house. Justine, who is now staying with them in the throws of deep depression. Claire, unlike Justine, is petrified with any form of disorder. All things have to be in the right place. From the start of the film the presence of the approaching planet is referred to. As it gets ever closer Claire's husband constantly reminders her that it will most certainly not impact with Earth. The film progresses as each character comes to terms with their existence in the face of utter destruction.

A drama which alludes to science fiction, it is an interesting film on two very different people living with the idea of total destruction. It is without question an utterly beautiful piece of cinema, with some exceptionally great performances, particularly from Dunst, in what must be her finest role.


Directed by: Lars Von Trier
Starring: Kirsten Dunst, Charlotte Gainsbourg, Kiefer Sutherland, Charlotte Rampling, John Hurt, Alexander Skarsgård, Stellan Skarsgård
Country: Denmark/Sweden/France/Germany

Rating: ****

Marc Ivamy

Review #60: 'Thor' (2011)

As Marvel's mega-budget Avengers (due 2012) film draws ever closer, the stand-alone origin films are slowly coming to an end. Only Captain America: The First Avenger (2011), starring Chris Evans, remains to be released. So Thor arrives, amidst a worry that a portrait of the God of Thunder arriving on Earth after being banished from his kingdom in the sky may look a bit silly, especially when played by actors rather than drawings in a comic-book. But Marvel's track record has been good so far, and even very good, in the case of the first Iron Man (2008) film. Their left-wing choices for both actors and directors, and bold decisions have made for interesting viewing, and it's no different here.

King of Asgard, Odin (Anthony Hopkins), sits proud on his throne after defeating the Frost Giants of Jotumheim and bringing peace to the Nine Realms. He has two strong warrior sons, Thor (Chris Hemsworth) and Loki (Tom Hiddleston), one of which will eventually succeed him. But when Asgard is breached by Frost Giants trying to take back their precious Casket of Ancient Winters, seized by Odin, Thor invades Jotumheim with a small band of warriors including Loki, and starts a new war. Odin, livid with Thor's defiance, banishes him to Earth and takes away his all-powerful hammer Mjolnir, deeming him unworthy. When he arrives on Earth, confused and powerless, he is taken in by a scientist Jane Foster (Natalie Portman), while Mjolnir sits in the desert, moulded to a rock, awaiting the touch of someone worthy of it. Meanwhile, back on Asgard, war is afoot and Odin lies near-death, while Loki starts to act suspiciously.

This may all seem ridiculous and silly, and it is. The opening ten minutes, which condenses the history of Asgard and its war with the Frost Giants, is a confusing and silly blur of CGI and narration. My hopes of another Marvel triumph were somewhat dashed, but thankfully, with the arrival of Chris Hemsworth as Thor, and a bit of character development, the film started to become the enjoyable romp that it is.

Marvel's choice for Thor, Chris Hemsworth, whose CV consisted of a main character in Australian soap Home And Away, and a cameo as Captain Kirk's dad in the Star Trek (2009) reboot, is a stroke of genius. He has the charm, acting chops, comic timing, the physical presence to actually convince as a God. He was born to play this role, it seems. He juggles between irresponsible, immature and arrogant in the first half, to show off his skills as an action hero you can truly root for in the second. And when the film calls for him to play the fool, he pulls that off too.

The choice for Kenneth Branagh to take the directing reigns was a strange one. A director who is most at home directing literature, namely Shakespeare, would not have been my first choice to direct a blockbuster that could easily go tits-up if mishandled. Yet Branagh handles the duties with a natural flair and confidence. The film goes back and forth from Thor's growing humanity on Earth and his relationship with Portman, to Loki's evil plotting on Asgard without ever losing focus of the story at hand or the large collection of characters.

Overall, this is just a fun film, never taking itself too seriously, yet always maintaining a respect for the source material. The undoubted star to emerge from the film is Hemsworth, who I'm sure will go on to have a successful career. I'll be looking forward to see his character again in the Avengers film, which arrives sometime in 2012. Special mention should also go to Tom Hiddleston, who arrives from the London stage after winning several awards to play a menacing and pleasingly complex villain.


Directed by: Kenneth Branagh
Starring: Chris Hemsworth, Natalie Portman, Tom Hiddleston, Anthony Hopkins, Stellan Skarsgård, Idris Elba, Ray Stevenson, Rene Russo
Country: USA

Rating: ****

Tom Gillespie