The Sense of an Ending

First Hit:  Somewhat slow, subtle, and insightful film about someone coming to grips with things as they are and not what he thought they were.

I didn’t mind that this British film plodded along because its plodding was even and unfolded the character and the past of Tony Webster (Jim Broadbent) in a thoughtful and realistic way.

Tony is a quiet grumpy (“curmudgeon” according to his daughter) retired old man. His best friend is his divorced wife Margaret (Harriet Walter). He’s a retired professor, but owns and works at a very small antique camera business. He receives a registered letter one day that tells him that his first college girlfriend Veronica’s (Freya Mavor as young Veronica and Charlotte Rampling as the older Veronica) mother, Sarah (Emily Mortimer), left him a diary by his old college friend Adrian Finn (Joe Alwyn).

Curious, he goes to the solicitor’s (lawyer) office to collect the diary, however he’s told that Veronica still has it and isn’t giving it up to Tony. This prompts him to discuss his university story to his former wife, who sees through the surface representation and tells him, come back and tell me the real and in-depth story.

The film is about this slow unfolding of his reconciliation of his actions as a student. To assist the story, his daughter Susie (Michelle Dockery) is pregnant and having a baby, which is used to enhance Tony’s inability to connect at an emotional empathetic level to the possibilities of what happened a long time ago.

To tell the story the film goes back and forth in time often to explore his relationship with Veronica, her mom, Adrian, and his other close friends. It takes a bit of getting use to because the segues between the two time periods are not always matched.

Broadbent was perfect for this role. He’s got the look and the acting ability to make me believe he was learning about his whole life through the story of the film. Being an occasional curmudgeon myself, I got why he asked the questions he did and the way he isolated himself. Walter was wonderful as his understanding and caring ex-wife. Mavor was interesting as young Veronica but it was Rampling as the older Veronica who really put the right flavor on his growing up, so-of-speak. Mortimer was really strong in her brief but impactful role. Alwyn was OK as Tony’s friend. Dockery was wonderful as Tony’s daughter. I liked their interaction and was touched by his being with her during the birth of her baby. Nick Payne did a wonderful job of creating a script that unfolded slowly. Ritesh Batra did a good job of letting the dialog unfold the scenes.

Overall:  This was enjoyable to me, but I can see why it may not be enjoyable to others.

Bridget Jones's Baby

First Hit:  Occasionally funny but generally slow and simply didn’t work.

The very first film of this series, Bridget Jones’s Diary, was fun and it worked in many ways. Being introduced to Bridget Jones (Renee Zellweger), a woman who struggles with her weight, is lonely and falls in love with two men. The second was somewhat more of the same; but by this film, the main thing we’ve dropped from the plot is the weight although there are references to weight in the film.

Another constant in the previous films are her two love interests Mark (Colin Firth) and Daniel (Hugh Grant). However, because Grant dropped out of project, he's referenced in a plot device funeral. Here Bridget is successful at her job as producer of a television program. She is celebrating her 43rd birthday and ends of doing it alone in her apartment. She goes to Daniel's funeral and runs into Mark.

A few days later, her coworker Jude (Shirley Henderson) decides to take Bridget to a rock-in-roll festival where she happens to fall into bed with Jack (Patrick Dempsey) and they have a sexual evening. Running into Mark again at a Christening, she has sex with him as well. Having sex with two different men in a short period of time (within a couple weeks of each other), she becomes pregnant and doesn’t know who the father is. That is the plot of this film.

Jones is pregnant, she’s going to keep the baby, she doesn’t know who the father is, and she may lose her job at work. Generally, this plot has a bit of interest but the execution is mediocre. At the end of the film a newspaper article comes up stating that Daniel is still alive, God I hope this doesn't mean there is another film planned.

Zellweger seemed out of place and unengaged in the part. Dempsey seemed to put the most energy into his part although there didn’t seem to be chemistry between him and Zellweger. Firth did well by keeping his stogy, disengaged self in tack. Henderson was delightful and carried her scenes well. Jim Broadbent as Bridget’s dad was his wonderful self and Gemma Jones as Bridget’s mum was good. Emma Thompson co-wrote and also played Bridget’s physician in a wry manner. The other co-writers were Dan Mazer and Helen Fielding. Overall the script was not very strong because it was more rehashed material, although the overall story idea could have been interesting. However, this film is too long and falls apart because of less than engaged acting and lapses of interesting direction by Sharon Maguire. For instance, the scenes of Mark and Jack carrying Jones to the hospital weren’t funny and could have been cut.

Overall:  Despite some funny moments, this film didn’t work and wasn’t worth the price of admission.

Brooklyn

First Hit:  This film shares a wonderful heartfelt story with remarkable acting and stunning visuals representing the 1950’s.

Irish immigration to the US and specifically to Brooklyn during the 1950’s (the 3rd wave) is highlighted in this film.

The film does give homage to an earlier 2nd wave of Irish Immigration to the US by sharing information about how they built a lot of the infrastructure in eastern US cities. Knowing that by 1860 or so, one quarter of New York City’s population was Irish, when we join this story we are aware of Irish influence in the city.

This story begins with Eilis (Saoirse Ronan) living with her mom and sister in a small Irish town. She works as a clerk in Miss Kelly’s (Brid Brennan) small store. Where Eilis has a quiet caring heart Miss Kelly is mean and spiteful. This life is weighing Eilis down, so her sister Rose (Fiona Glascott) sets her up with a Visa and a job in New York City.

Afraid and excited, she leaves on a ship only to land in a repressive boarding house run by Mrs. Kehoe (Julie Walters) and working as a clerk in a fancy department store. She is lonely and sad, misses her family, and is terribly homesick. All this changes when she meets a young Italian plumber named Tony (Emory Cohen). He is totally smitten by her and while she’s slowly warming up to the attention and affection, Tony blurts out his love for Eilis.

The scenes of them together are amazingly precious. The first meal at his family’s house is ripe for enjoyment. Then there are scenes at the Ms. Kehoe’s boarding house dinner table that are simply funny, witty and insightful to the plight of these young girls trying to find a life in New York City.

Then there are the heartfelt and decisive scenes back in Ireland when Eilis returns to pay her respects to her recently deceased sister. The heart pulling wish of her mother wanting her to stay and not go back to New York, along with her ability to see her old friends as well as being seen as someone who is beautiful and smart makes her wonder about staying.

Ronan is beyond wonderful. She gave the kind of performance that elevates her incredible resume. I loved her as a young curious and confused girl named Briony in “Atonement”. She sparkled physically and intensely as the assassin in “Hanna”. Here she gives a deeply moving and evolving portrait as a women coming into her own. This is a great actress. Cohen is so wonderfully charming in his role, you just cannot help but love him here. Walters is perfect as the strict matron of her boarding house, trying to keep her women on solid respectful footing. Glascott was perfect as the thoughtful sister. Brennan was on point as a sharp, pushy, and mean store owner. Jim Broadbent as Father Flood was flawlessly cast as Eilis’s rock during her first months in the US. Nick Hornby wrote a dazzling screen play capturing the feel of the time and the intent of Colm Toibin’s novel. John Crowley captured the innocence, despair, history, and feeling of the time perfectly.

Overall:  Wonderful to watch, beautiful to feel.

Closed Circuit

First Hit:  An interesting education of the English court system.

Terrorism, spying, closed circuit cameras, and English law are featured in this film. Martin Rose (Eric Bana) is a hard nosed independent English Barrister. He’s divorced, his former wife despises and controls when he can see his son and for how long – we guess for good reason.

This part of the film sets up the type of guy he is. Above all he’s independent. He’s had an affair with Claudia Simmons-Howe (Rebecca Hall) another Barrister who has a long tradition of strong independence. They must both lie to be assigned to defend a perceived terrorist from prosecution by the government.

Briefly, in cases such as this, there is a public defender (Rose) and a private advocate (Simmons-Howe). When assigned, neither person can have contact with each other nor can they have had a past conflicted relationship with each other.

Because they were lovers, this means they couldn’t legally take these roles. However they both want to try this case, they lie to the judge and say there is no reason why they cannot work on this case. The interesting part of this film is that the evidence that each Barrister collects cannot be shared with the other. The worst part is that is that all secret evidence obtained by Simmons-Howe cannot be made public.

As the respective Barristers learn more about what really happened, they discover that it was the government’s own MI5 that was pulling the strings and that they don’t want to be embarrassed.

Bana is very effective as the smart, bull-headed, independent Barrister that wants the truth and really has a heart. Hall is wonderful as the Advocate and some of her interactions with a particular MI5 agent are priceless. Jim Broadbent, in a very limited role as the Attorney General, is sublime and cements the way the government deals with issues like this. Steven Knight wrote a good script in that it was also educational besides entertaining. John Crowley made effective use of portraying how spying and government control gets in the way of the truth.

Overall:  Not a great film but certainly worth a look some Sunday evening.

Cloud Atlas

First Hit:  A difficult concept to make believable in film but here it works fairly well and is interesting.

The concept that the energy/spirit of who we are never ceases to exist and manifests itself in bodies is not new.

His Holiness Dalai Lama has revisited us 14 times. If you watch the Martin Scorsese film “Kundun” (HHDL’s nickname) you will see an enactment of his discovery of who he is and was. Anyway, Cloud Atlas takes us through people and their connections through many different expressions of their lifetimes.

Tom Hanks plays multiple versions of a good guy as does Halle Berry his connected partner. This very long (almost three hours) film goes by surprisingly fast because there are 6 story lines the audience has to follow.

The credit for this film being engaging and interesting is to the fine direction under Tom Tykwer with Lana and Andy Wachowski. I found myself wanting to know more (and read this also as caring more) about some story lines versus others. T

here were storylines I wanted to dismiss quickly while others I had more interest in. Without tipping my hand too much, the future stories were more interesting to me as were 2 of the historical stories. At times the scenes and sets were amazing in their ethereal beauty while others were sharp in their rough starkness.

Without me having to go back (and I won’t) watch it again, what struck the following day was; did anyone learn enough in their previous versions of themselves to go from being a bad guy to a good guy? Was there redemption? I don’t think so. This thought took me to thinking how much better this film might have been if an energy/spirit learned from their past behavior and moved to a different based energy. But then again it would have been a whole other film.

At one point the film did strike a chord in me which I think is true: “Love is real. Everything else is an illusion. Live in this realm and you will be at peace.”

I wondered how hard it was for the actors to stay in character for all the roles each had to play – and therefore kudos to all. Hanks was very good but typical of himself in his roles as Dr. Henry Goose, and 5 others. Halle Berry was strong in her 6 roles. Jim Broadbent was really fun to watch in his 5 roles. Hugo Weaving had 6 really disparate but interesting roles as the bad guy. Jim Sturgess was the young hero in 7 roles and did this well but I didn’t think the Asian makeup worked well. Doona Bae was mesmerizing as Sonmi-451 (interesting reference to another famous 451) and her scenes stole much of the film. Lana and Andy Wachowski along with Tom Tykwer wrote an interesting screenplay from David Mitchell’s book Cloud Atlas (named for a symphony). They also did an outstanding job of keeping this long film moving and engaging the audience.

Overall:  Interesting, far reaching, and well done but not great.