Hugh Grant

Dungeons and Dragons: Honour Among Thieves

05/04/23

Cineworld, Edinburgh

Once the domain of a modest group of aficionados, the roleplaying game of Dungeons and Dragons has lately become a worldwide obsession, which perhaps accounts for this big-budget production. It’s presumably been given the ‘Honour Amongst Thieves‘ suffix to differentiate it from the dismal Jeremy Irons movie of 2000, which attempted to walk the same path, but failed to endear itself to critics and viewers alike. Thankfully, this incarnation, directed by John Francis Daley and Jonathan Goldstein, is a different kind of beast entirely. It’s actually great fun.

It’s the story of Edgin (Chris Pine) a former Harper (or minstrel), more recently a professional thief. When we first meet him, he’s languishing in prison, sharing a cell with his BF, Holga (Michelle Rodriguez), a kick-ass warrior who never wastes words when her sword can do the talking. She’s also very fond of potatoes. Edgin has a desperate plan to escape from captivity because he needs to get back to his daughter, Kira (Chloe Coleman), who he’s left in the care of his former friend and fellow-thief, Forge (Hugh Grant), after the tragic death of her mother. 

Once out of prison, Edgin hears about a mystical Tablet of Awakening, which has the power to bring a dead person back to life. For obvious reasons, he resolves to find it. So he heads for the city of Neverwinter, where Edgin is now the head honcho, supported by his advisor, the powerful Red Witch, Sofina (Daisy Head). Along the way, Edgin and Holga recruit failed magician Simon (Justice Smith) and shapeshifter Doric (Sophia Lillis) to their cause – and, with the help of the mysterious and ridiculously handsome Xenk (Rége-Jean Page), they set off on a long and complicated quest to find an ancient bronze helmet that will help them locate the fabled tablet. Suddenly, we’re in a heist movie.

If this all sounds horribly generic, relax. Dungeons and Dragons: Honour Amongst Thieves can most accurately be described as a romp, fuelled by a clever script that has a massive trump card up its sleeve, which it’s not afraid to use. Whenever events threaten to become too po-faced, too pompous for comfort, out come the jokes, the quips and the sarcastic asides. It works like a dream.

Yes, there are CGI beasts, including a fearsome dragon; there are huge battles and eye-popping special effects sequences; there are witches and ogres and long-leggedy beasties – but the creators of the film are canny enough not to linger too long on any of these details, allowing Edgin’s quest to move on to the next hurdle, the next obstacle, the next massive punch up. There’s a second trump card in the familiar form of Hugh Grant, who, as the villainous, double-crossing Forge, offers yet another character study of the kind he’s been revelling in ever since his renaissance in Paddington 2. He’s not the only good thing here, but he’s definitely one of the best of them.

It all builds confidently to a genuinely heart-warming conclusion that rounds off the adventure in style. Stay in your seats long enough for a brief, but funny post credit scene!

I’ve no idea if this will appeal to devotees of the game, but as an outsider, I find this D&D adventure a ton of fun.

4.2 stars

Philip Caveney

Death to 2020

27/12/20

Netflix

I had thought that the hideous happenings of 2020 could never make me laugh.

I was wrong.

Charlie Brooker’s cunningly constructed mockumentary takes a long hard look at the events of this momentous year, and gleefully eviscerates them in his familiar no-holds-barred fashion. (You could argue that he’s been a little too hasty in releasing it with a few days still to go, but hey, it can’t get any worse. Can it?)

Death to 2020 takes me from wincing and cringing to laughing-out-loud time and time again. It’s the comedy equivalent of riding a roller coaster. For once, this is far less of a one-man project than we’ve come to expect from Brooker. There are no fewer than twenty writers attached to this project, and it would seem their best efforts have been cherry-picked. This is essentially a month-by-month retelling of everything that went down in the year 2020, but all viewed from a slightly skewed perspective. It works, big time.

Brooker has also enlisted considerable star-power for this special. Samuel L Jackson is Dash Bracket, focusing his ironic comments on the rise and fall of a certain Mr Trump. Hugh Grant (never funnier) is Tennyson Foss, a historian who can’t seem to differentiate between genuine history and random events from Game of Thrones. Lisa Kudrow is brilliant as Trump spokesperson Jeanetta Grace Susan, unashamedly denying the president’s heinous actions even as they unfold on video, right in front of her eyes. And Tracey Ullman is rather too convincing as Her Majesty, Queen Elizabeth II.

Of course, it wouldn’t be a Charlie Brooker event without the presence of Diane Morgan, and she’s here too, as Gemma Nerrick, a woman so odious that lockdown has actually worked in her favour, a viewer so overdosed on daytime TV she’s constantly muddling real events and the soaps she’s addicted to.

Of course, some will argue that we shouldn’t be laughing at the horror-show in which we’re all so inextricably mired, but I enjoyed this a lot more than I expected to. Chances are, you will to.

4.5 stars

Philip Caveney

The Gentlemen

01/01/20

When Guy Ritchie first burst onto cinema screens in 1998 with Lock, Stock and Two Smoking Barrels, his felt like a genuinely fresh voice and, two years later, Snatch served to consolidate his reputation. But his output over the intervening years has not been as assured. (Anybody who had the misfortune to witness his attempt to reinvent King Arthur as a diamond geezer will know where I’m coming from here.) While his recent box office crowd pleaser Aladdin doubtlessly put him back into the black, it could have been directed by just about anybody. So, perhaps it’s no surprise that The Gentlemen is an all too-obvious attempt by Ritchie to return to his glory days. It’s all here, complete with an 18 certificate and enough C bombs for ten films. Take that, Walt Disney!

The lead ‘gentleman’ of the story is Rhodes scholar turned pot dealer, Mickey Pearson (Matthew McConaughey), who is the top drug baron of the realm. He mingles with the aristocracy, who cheerfully help him to grow his crop, and is rich beyond the dreams of Croesus. But he’s looking to get out and spend quality time with his wife, Roz (Michelle Dockery), so he offers to sell his business to Mathew (Jeremy Strong) for a cool 200 million dollars. As you do. But of course, other ‘gentlemen’ are sniffing around, including Dry Eye (Henry Golding) and, naturally, there are various attempts by various others to muscle in on the deal. On reflection, maybe the film should have been entitled The Scumbags, because there’s nobody here to root for, each successive character as nasty and depraved as the previous one. McConaughey, by the way,  has very little to do here except wander listlessly around in a tuxedo.

The story is related by seedy private eye, Fletcher (Hugh Grant, entertainingly playing against type) to Raymond (Charlie Hunnam), Mickey’s right hand man. Fletcher, it seems, has blackmail on his mind, and has written a ‘screenplay’ about the whole thing. He pitches it to Raymond (and the audience) as if trying to get us on side. A convoluted shaggy dog story ensues…

Sadly, Ritchie’s attempt to get back to his former strengths misfires horribly. Despite a pleasing turn from Grant and another from Colin Farrell as ‘Coach,’ this comes across as one of the most unpleasant and racist films of recent years. ‘I’m an equal opportunities offender,’ boasts one character and sure enough, all the non-caucasian characters in the film – black, Jewish, Asian – are treated with the same insulting, tone-deaf approach. Furthermore, poor Michelle Dockery, who has pretty much the only speaking role for a woman in the entire film, is horribly served, her one scene of any consequence marred by a spurious and gratuitous sexual assault. The main problem, of course, is that Ritchie is doubtless blissfully unaware of these shortcomings, a privileged white man still trying to prove his ‘street’ credentials.

Society has moved on considerably since the 1990s, but Ritchie, it seems, has not. He’s still stuck in that decade. And this is not a promising start to 2020.

Philip Caveney

2.6 stars

Film Bouquets 2017

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All things considered, 2017 was a pretty good year for film – so much so that we’ve decided to award twelve bouquets – and it still means leaving out some excellent movies. Here, in order of release, are our favourite films of 2017.

Manchester By the Sea

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This bleakly brilliant film got the new year off to a great start. Powered by superb central performances by Casey Affleck and (especially) Michelle Williams, it was a stern viewer indeed who didn’t find themselves reduced to floods of tears.

Moonlight

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An affecting coming-of-age movie chronicling the life of a young black man as he gradually came to terms with his own sexuality, this film, of course, beat La La Land to the best movie Oscar in unforgettable style. It absolutely deserved its success.

Get Out

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A ‘social thriller’ that, despite it’s serious message, enjoyed a lightness of touch that made it a joy to watch. There were shades of The Stepford Wives and this witty calling card from director Jordan Peele suggested that cinema had found a hot new talent.

The Handmaiden: Director’s Cut

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Park Chan-wook’s masterpiece, loosely based on Sarah Water’s novel, Fingersmith, took us into the Korea of the 1930s and kept us spellbound for nearly three hours. Lush cinematography, a genuine sense of eroticism and fine performances from an ensemble cast – what’s not to like?

The Red Turtle

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This stunning animation from Michael Dudok de Wit, co-produced by Japan’s Studio Ghibli,  exemplified the best artistic traditions of east and west – a beautiful allegory about life and love and relationships. A delight to watch and a story that we couldn’t stop thinking about.

Baby Driver

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Edgar Wright’s adrenaline-fuelled chase movie ticked all the right boxes – a great soundtrack, breathless pacing and an intriguing central character in Ansel Elgort’s titular hero. It all added up to an unforgettable movie experience.

God’s Own Country

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This extraordinarily accomplished debut by writer/director Francis Lee played like ‘Brokeback Yorkshire’ but had enough brio to be heralded in its own right. Beak and brutal, it told the story of two farm hands slowly coming to terms with their growing love for each other. Magnificent stuff.

Mother!

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Darren Aronfsky’s absurd fantasy alienated as many viewers as it delighted, but we found ourselves well and truly hooked. From Jennifer Lawrence’s great central performance to the film’s bruising finale, this was definitely a film not to be missed – and one of the year’s most discussed films.

Blade Runner 2049

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We waited thirty years for a sequel to Ridley Scott’s infamous film and I’m glad to say it was worth the wait – a superior slice of dystopian cinema that dutifully referenced the original whilst adding some innovative ideas of its own. Denis Villeneauve handled the director’s reins expertly and Hans Zimmer’s score was also memorable.

The Killing of a Sacred Deer

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Another piece of eerie weirdness from director Yorgos Lanthimos, this film also managed to divide audiences, but for us it was a fascinating tale, expertly told and one that kept us hooked to the final, heart-stopping scene. A unique cinematic experience.

Paddington 2

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Yes, really! The sequel to the equally accomplished Paddington was an object lesson in how to effortlessly please every single member of an audience. Charming, funny and – at one key point – heartbreaking, this also featured a scene-stealing turn from Hugh Grant.

The Florida Project

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Think ‘Ken Loach does Disney’ and you’re halfway there. Sean Baker’s delightful film might just have been our favourite of 2017, a moving story about the tragic underbelly of life in contemporary America. Brooklyn Prince’s performance as six-year-old Moonee announced the arrival of a precocious new talent.

Philip Caveney & Susan Singfield

Paddington 2

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10/11/17

Paddington is a tough act to follow. That first film got everything right – a family entertainment that really did have something for everyone. It was also highly successful, so of course there was always going to be a sequel. The modestly titled Paddington 2 says it all. Not Paddington Episode Two, or Paddington Rides Again. No, this does exactly what it says on the tin –  a second adventure featuring Michael Bond’s celebrated ursine hero.

But, can it hope to be as good as its progenitor? The fact that the film’s release has been delayed for a month while the production company scrambles to disassociate itself from a certain Harvey Weinstein doesn’t augur well but, against all the odds, this second installment of the franchise manages to unfold its delightfully silly story without putting a single paw wrong.

The film opens with a flashback to darkest Peru, where Uncle Pastuzu (Michael Gambon) and Aunt Lucy (Imelda Staunton) first encounter the orphaned bear cub who will become Paddington – and we discover that Aunt Lucy has a longheld ambition to visit the city of London. After the credits we nip smartly back to the present day, where Paddington is now a valued member of the Brown family, helping Henry (Hugh Bonneville), Mary (Sally Hawkins), Jonathan (Samuel Joslin) and Judy (Madeleine Harris). He’s also fitting in nicely with the community of the street on which he lives – cue plenty of cameos from what seems like scores of celebrated comic actors.

But with Aunt Lucy’s 100th birthday approaching, Paddington is looking for a suitable present for his beloved aunt so, when his friend, Mr Gruber, (Jim Broadbent) who runs the local antique shop, shows him a charming (and rather expensive) pop-up book of the city, Paddington resolves to earn enough money to buy it for her. To this end, he tries his hand at window cleaning and barbering, both with suitably hilarious results. Then, by chance, his path crosses with that of has-been actor, Phoenix Buchanan (Hugh Grant), who, it transpires, wants the pop-up book for his own nefarious purposes…

Once again, the screenwriters have managed to capture the spirit of Michael Bond’s evergreen tales, presenting us with a storyline that will have people of all ages laughing uproariously – when they’re not clutching for their handkerchieves. Yes, this is undoubtedly manipulative stuff, but it’s done with such style and such sure-footedness, that you cannot help but be swept along. Scenes where the unthinkable happens and Paddington is actually sentenced to a spell in jail will have the hardest heart breaking into tiny pieces – and the little bear’s developing friendship with prison chef Knuckles McGinty (the ever dependable Brendan Gleeson) is a brilliant conceit which occasionally yields comedy gold.

It doesn’t end there. Paddington 2 is endlessly inventive (scenes where the little bear and his aunt cavort amidst a pop-up recreation of the city of London are a particular highlight). Perhaps the biggest surprise here is Hugh Grant (who, weirdly, we think we spotted walking a tiny dog near Rosslyn Chapel a couple of weeks ago). His turn as the self-obsessed Phoenix Buchanan is one of his best performances ever and he very nearly steals the show from the titular bear – still endearingly voiced by Ben Whishaw.

When you witness some of the absolute dross that passes for ‘family entertainment’ these days, it’s reassuring to see something as lovingly crafted as this. The next question? Can they do it a third time? Well, that remains to be seen. Meanwhile, this will do very nicely indeed.

5 stars

Philip Caveney

Florence Foster Jenkins

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16/05/16

The last time we saw the chameleon that is Meryl Streep in a musical role it was in Rikki and the Flash, where she managed to utterly convince as an ageing rocker with a troublesome daughter. The titular Florence Foster Jenkins is something else entirely. Streep plays a genuine historical character who lived only for music and who enacted a whole series of infamous concerts during the 1940s.

She was remarkable for a variety of reasons. As a teenager, she’d been a musical prodigy but an unwelcome dose of syphilis, passed on to her by her first husband when she was eighteen, had left her incapable of playing the piano. Her only other option was to sing and luckily for her, she had inherited her father’s fortune and was able to fund a series of private concerts. The reviews were generally favourable, largely because of the sterling efforts of her second husband, former actor St Clare Bayfield (played here with great charm by Hugh Grant) who smoothed his wife’s path by bribing reviewers and ensuring that she never ever witnessed people laughing at her – something they were likely to do, because of course, she couldn’t carry a tune to save her life.

The film opens with her auditioning for an accompanist and she soon settles on Cosme McMoon (a beautifully understated turn by Simon Helberg) who finds himself conflicted by his desire to play good music and his understandable horror at the noises he hears coming from the mouth of Ms Jenkins. The situation is manageable when the concerts are kept small and intimate but when on a whim, Jenkins books herself a performance at Carnegie Hall in front of an audience of 3000, it’s clear that Bayfield and McMoon are going to have a more difficult job on their hands. And to compound matters, she’s only gone and made a blooming record!

This is a slight but perfectly judged film, skilfully directed by Stephen Frears and built around a wonderful comic performance from Streep. If you think there’s not much humour to be milked from such a tragic premise, don’t be fooled – you’ll laugh your way through much of this and towards the end, you’ll almost certainly be close to tears. The script, by Nicholas Martin, is adept at confounding your expectations. Bayfield, who at first appears to be an unspeakable cad (he led a double life, living with a young woman, Kathleen (Rebecca Ferguson)) clearly did love his wife and lavished great care and attention on her at every turn, unlike musical virtuosos such as Arturo Toscanini and Carlo Edwards, who happily took a series of cheques from her but never once turned up to show their support.

In an age where the likes of The X Factor and BGT have elevated the championing of musical mediocrity to an art form, Jenkins’ story seems a particularly prescient one – and for Streep’s performance alone, this is worth seeking out.

4.2 stars

Philip Caveney