I have been waiting for this film since it was first announced because the subject, Neil Armstrong, was one of my boyhood heroes. I booked for the first day, but an unforeseeable circumstance prevented my getting to see it. On the second occasion, the gridlocked town centre delayed the bus service so much that I gave up and returned home.
Third time lucky then. Made it!
Was it worth the effort?
Heaving a great sigh of relief, I can report it most certainly was.
This film is a biography of Neil and his family from the birth of his first child to his return from the Moon.
The story is skilfully crafted and gives a good insight into the stress of family life when one member is involved in a dangerous occupation.
A lot of the focus is therefore on the lives of Neil’s wife, Janet, and their three children. There is also focus on Neil’s second family, the cadre of astronauts on the Gemini and Apollo missions.
We see an interesting movement in Neil’s priorities between these families over time and the effects this has on the other people involved.
The training for the eventual Moon mission is created with stunning effects and skilful tension building.
I was quite familiar with his story, especially the major steps on his journey to the Moon, but the director still managed to raise my heartbeat and relief over and over again.
By the end of the film, I felt choked up, exhausted and exhilarated, all at the same time.
I think this film is fully deserving of the 5 stars I am giving it.
I hope you agree.
The Guernsey Literature and Potato Peel Pie Society is an absolutely charming love story.
It is set just after WWII in London and on the Channel isle of Guernsey, with flash backs to the German occupation period.
Featuring a plethora of fine British/Dutch/American acting talent, the story is told at a gentle pace, focusing on the tensions caused between natives and occupiers and the after effects in peacetime.
The story arrives at its inevitable and predictable conclusion, which is nonetheless, very satisfying.
Lily James gives a warm and believable portrayal, which leads the story. She plays a young author and survivor of the London Blitz, struggling at times with PTSD.
The story could have degenerated into a sentimental tale but avoids this fate with careful measures of humour and grit to balance the sugar.
My only regret about the film is that it was not shot on the island. Due to financial reasons, it was filmed in the beautiful county of Devon. Anybody expecting to see lovely St Peter Port will have to settle for a very different English fishing village. That is a minor point, but a distraction if you know the locations.
I recommend this for anybody with a love of our history and the tradition of British filmmaking.
At the time of writing, this film is showing at the Odeon for this week, and will undoubtedly moves to the Silverscreen performances in a few weeks.
I award it 4 out of five stars.
Red Sparrow is a very contemporary play set against the rising threat of Russian expansionism. The cold war of old has been re-kindled but old spy craft is still a primary tool used against the West.
Enter Jennifer Lawrence as one of the nails used by the Russian hammer against, in this case, the Americans.
The story continues with great pace and gusto that gives the initial impression of being an exciting and gripping story. However, this is no Le Carré or Deighton story. There is no light and dark in the characters. The bad guys are all super-bad and the good guys could almost be wearing white hats.
The viewer is kept guessing about the true motivations of Miss Lawrence’s character till the end, but you can see within the early scenes who is going to lose the most.
On top of this plot is laid a visual assault of violence, gore and sex that is unprecedented in my experience in the legitimate cinema. Many scenes were bordering on the pornographic both in violence and nudity.
This may be artistically justifiable, indeed the presence of several A-List actors would indicate they felt it was justified, but not for me.
This would have benefited from clearer story telling, deeper characterisation and less visual exploitation.
Just 3 out of five stars.
The Shape of Water is an adult fairy tale, of monsters and lovers, sacrifice and hatred.
We are taken to the post WW2 anti-communist paranoid America, coloured with a dark palate, giving an impression of an old gothic horror.
Emotions are all ramped up to the maximum with no time for nuance or subtlety.
Thankfully the plot moves quickly as a result and the 2 hour 3 minute duration flies as quickly.
This film is probably the director Guillermo Del Toro’s best work (I haven’t seen them all so cannot be certain).
The performances by actors Sally Hawkins, Octavia Spencer, Richard Jenkins and Doug Jones are all excellent.
I would particularly pick out Doug Jones who inhabits the central creature around which the story revolves. He brings the full range of emotions to his character without benefit of language, purely by his body language, which shines through his latex prosthetic body. (You may have seen him recently in Star Trek: Discovery, similarly cloaked in alien costume.)
As the story reached the ultimate and predictable conclusion, I felt this to have been a satisfying experience.
This will not be everybody’s cup of tea; indeed I resisted seeing it until after its Bafta success.
It is well worth 4 out of five stars.
Darkest Hour is the story of the few days when Winston Spencer Churchill became Prime Minister to the end of the Dunkirk evacuation.
I found this to be one of the most enjoyable history lessons I have ever experienced.
The political machinations show that anything we see from Westminster now is nothing new.
The hype surrounding Gary Oldman’s performance is well founded, as he produces a totally convincing image of the great orator.
An outstanding technical and artistic cast supports Oldman. Together they produce a near documentary recreation of real events.
If you collect DVDs, I would recommend pairing this film with Dunkirk as a perfect evenings viewing.
This film scores on all measures that I use to rate films and fully deserves its 5 stars.
The Post (The Washington Post) is a thriller set in the immediate pre-Watergate Washington of Richard Nixon.
The story is set in the newsroom of the Washington Post.
Driving the story is the relationship between the Tom Hanks and Meryl Streep characters.
Steven Spielberg expertly crafts tension into what could have been simply a tale of talking heads.
There are no adrenalin pumping murders, violence or heart pounding chases. What you do get is a very invigorating work out for your brain following the intricacies of the plot.
Indeed I would say it ranks alongside masterpieces such as The West Wing and All The Presidents Men.
I found this to be an intelligent political drama and thriller, which left me feeling very satisfied.
Strongly recommended with 5 out of five stars.
The Death of Stalin has bee created by Armando Iannucci and David Schneider. You can expect the foul language and biting dark humour of Iannucci’s various television projects for which he is famous.
A large cast of recognisable actors inhabit the characters at the top of Russians political and military hierarchy. These include Jason Isaacs, Andrea Riseborough, Steve Buscemi, Jeffrey Tambour, Michael Palin and Paul Whitehouse.
The events before and after the death of Stalin are treated as a pantomime of opposing ambitions, jealousy and incompetence. However, custard pies are replaced by copious numbers of executions. Running in parallel are stories of families torn open by divisions, massacres and exploitation.
On top of this is the paranoid fear of Stalin that is ingrained into the population, from politicians to musicians and housekeepers who looked after him. This is made believable by not making the actors adopt stereotypical Russian accents. Their natural voices are used to great effect to portray the mix of regions they came from within Russia. It also makes the cacophony of arguing voices easier to follow.
In our age of less than conventional politicians, it is only too easy to suspect the events as shown in this film, may be underplaying the reality of what really happened when Stalin died.
This is a well made political satire. Four out of five stars awarded.