The story of Paddington Bear is a simple set-up: a (sentient and adorable) bear makes his way from darkest Peru to England and finds a home with the Brown family; tea-time adventures ensue. So when I tell you that writer-director Paul King’s translation of the source material onto the silver screen is brilliantly funny, charming and thematically rich, the accomplishment is all the more impressive.
As this very British film begins, Paddington immediately punctures the stodgy and posh English character, and the laughs just keep coming. Clever wit, Rube Goldberg slapstick, sight gags, jokes about millennials, they’re all here, ticking off the boxes of an audience spectrum from little kids to teens to adults. But what really impresses me is the way some of the humor is used to illuminate very defined and meaningful themes of immigration and racism. I’m not kidding! This stuff is gold in Paddington, as it hits upon a genius conceit: because Paddington’s status as a bear is only treated as exotic rather than unbelievable, the screenplay has a readymade allegory to comment on racial issues. When the Brown family passes the unattended Paddington in the train station, Mr. Brown moves to shield his children from the bear, fearing that the stray will try to “sell them something”. This is sharp satire.
The visual tableaus in this movie are entertaining in and of themselves. The world of Paddington is fully realized and thought out. I don’t just mean the bit about talking bears walking around, but that this is a place where the colors are a bit heightened, the people as well, and the sets just pop. Seriously, Gary Williamson’s production design is fantastic. And it’s just a pleasure to inhabit this world, which is a bit like Wes Anderson meets Home Alone.
This is also a very cinematically literate film, with a sequence like a DIY Mission: Impossible – Ghost Protocol Burj Khalifa set piece and a shot that is most likely an homage to The French Connection! And the colors are desaturated in a usually vibrant setting when the story takes a darker turn, which is so satisfying to notice, because it shows that the filmmakers are really thinking things through.
The ensemble as a whole just rocks, with Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, and Peter Capaldi knocking it out of the park, Ben Whishaw a great fit to voice Paddington, and this is not to mention Nicole Kidman as a despicable villain. There are one or two jokes that don’t quite land, so the film is not perfect. But it is damn near bulletproof, with a wonderful script from King, storybook production design, and the wherewithal to deal lots of laughs and lots of substance to chew on as well. 9/10.
The Last Five Years
I’m a musicals guy. The Wizard of Oz, Singin’ in the Rain, A Hard Day’s Night, Chicago, Pitch Perfect, Frozen. So here comes The Last Five Years, a film whose storytelling is conveyed almost entirely in song, and I think two things. One, that sounds awesome, like a constant conveyer belt of entertainment. Two, it sounds like it would be super-tough to maintain the impact of those songs over a 90-minute runtime. So I can now report that yes, the film is entertaining if you’re on its wavelength, and that yes, these songs get samey pretty quick.
Maybe part of that sameyness lies in the tight focus on the central drama. So what’s the film actually about? It’s about a young couple’s five years together (2008-2013), and from the first scene/song the audience knows that it ends in messy divorce. The film’s structure has Cathy (Anna Kenrick) and Jamie (Jeremy Jordan) singing the lead in alternating songs, and adding to the crisscrossing device, Cathy’s songs start from the post-divorce period and rewind through time, while Jamie’s songs start from the beginning of their relationship and progress forward through time; the streams converge at Jamie’s proposal song to Cathy.
Both performers give it their all, and the constant musical conceit keeps the engine of the film running. It’s just that the songs tend to blend together after a while as they hit very similar dramatic and comedic beats. And I should mention that The Last Five Years is based on a stage musical, so there are occasionally oddly stagey moments that don’t jibe with the naturalistic vibe of most of the film.
Best song? Well, even though I certainly think Kendrick as Cathy is a better singer and performer, Jamie’s song “Moving too Fast” stays in the mind as a standout. (And its jazzy backbeat gives it energy, a beat the really reminds me of Jeff Beal’s “Start the Watch” cue from the Monk score… by the way, I love that show.)
Really, The Last Five Years comes across as this monster triple-album of a musical that might be hard to appreciate at times, but I had fun with it. If you can stand “miles and piles” of more-or-less similar songs, I recommend it (and yes, that’s a reference to a song from this film). I couldn’t ask for a much better descriptor than one of Cathy’s lines in this very film: “That’s pretty long, but it’s fun”. 7/10.
Clouds of Sils Maria
French filmmaker Olivier Assayas writes and directs this enigmatic drama, set primarily in Sils Maria, a settlement in the Alps. Respected actress Maria Enders (Juliette Binoche) got her big break in the junior role in a drama featuring a relationship between a young seductress and an older woman, and is now being approached for the latter role. Being eyed for Maria’s old role is tabloid-attracting Hollywood sensation Jo-Ann Ellis (Chloë Grace Moretz). Maria retreats to Sils Maria (where this script was written), and with the help of personal assistant Valentine (Kristen Stewart) must prepare for the role and her co-star.
The dominant aspect in this film about acting is predictable: the performances. Binoche takes the insecurities of the acting world and brings them home with empathy and class. Matching her as a calming anchor is Stewart, whose “straight woman” is key to the duo’s dynamic. The two leads tear through Assayas’ script, alternately wordy and overly atmospheric, and their chemistry drives the film. Incidentally, Stewart’s performance got her a historic award: the first César Award (French equivalent of an Oscar) to ever go to an American actor. It’s well deserved. Rounding out the trio of main characters is Moretz’ naive thespian, bringing a schizophrenic energy to a film that at times really can use an unpredictable edge.
One thing that somewhat annoys me is that this is another film like Birdman that scores some cheap shots against superhero movies. There’s a sequence where Maria and Valentine watch Jo-Ann’s performance in an X-Men knockoff; despite a reference to a character actually called the Scarlet Witch (as in Avengers: Age of Ultron), the fictional film has this horrifying, strobing cinematography (in 3D, no less) that looks like it would make anyone want to throw up. But this diversion does have some nuance: Valentine stands up for the merit of the genre when done well, the deliberately silly dialogue is fun, and in Clouds of Sils Maria‘s world at least, we have a female-led superhero movie apparently meeting with financial success (*cough* please be good, Wonder Woman and Captain Marvel *cough*).
Anyways, the film’s verbosity is contrasted by the ending, which really goes for the throat of ambiguity and thus keeps a distance from the audience. A major character’s fate is left up for grabs, as it were, and there’s fickle character work that dares you to call the film out on it. This is an alienating effect that you just have to accept, and it fits in with a film that at times seems more interested in appearing transcendent than in meeting the audience halfway.
The powerhouse acting, picturesque setting, and empathetic screenplay are all pluses in Clouds of Sils Maria‘s favor. But its obscurant tendencies do, ahem, cloud some of its good intentions. It’s a well-made film, nurtured by the auteur Assayas. It just thrives on an irritating ambiguity too much in the home stretch. A weak 7/10.