John C. Reilly

Stan & Ollie

18/12/18

I’m no Laurel and Hardy aficionado, but of course I know who they were and the nature of their work; I haven’t spent my life under a stone! And I’m a fan of clowning, generally, and a sucker for a biopic. So, off I go to the local multiplex, to catch a preview screening of this much-talked-about movie.

It’s a gentle film, lovingly created, with two stellar performances at its heart. John C Reilly (Hardy) and Steve Coogan (Laurel) are note-perfect in their roles, embodying their real-life counterparts with obvious relish.

This is a bittersweet chronicle, detailing the latter years of the duo’s partnership. Their glory days behind them, they leave Hollywood to embark on a tour of Britain, hopeful that this will entice an eminent producer to get behind their latest movie idea: a comic retelling of Robin Hood. But audience figures are low, even in small, regional theatres, and the pair are left to face the fact that their careers are largely history.

It’s beautifully played, and the pathos is at times unbearable, but I can’t help feeling it’s all a little… subdued. I’d like everything dialled up a notch, and more focus on the emotional consequences of what happens to the pair. The script (by Jeff Pope) is terribly restrained; I’d prefer it if the leash were loosened just a tad.

Still, this is eminently watchable, with some cracking moments to relish. The interplay between the comics’ wives is particularly enjoyable: Lucille Hardy (Shirley Henderson) and Ida Kitaeva Laurel (Nina Arianda) were evidently as chalk and cheese as their husbands, and their reluctant friendship is a highlight of the film.

A good movie, then, but not a brilliant one, despite those fine impersonations of two comedy legends.

3.8 stars

Susan Singfield

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The Lobster

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18/10/15

There’s no other way of saying it. The Lobster is weird.

This surreal blend of dark comedy and occasional violence won the Jury prize at this year’s Cannes Film Festival and it represents Greek director Yorgos Lanthimos’s first foray into the English language. It was strangely heartening to see that despite its unabashed art house ambitions, it had somehow managed to pull a decent crowd into a multiplex on a Sunday afternoon. Gratifying too, that only a few people walked out of the showing shaking their heads.

David ( a barely recognisable Colin Farrell) finds himself dumped by his wife of twelve years (well, eleven years and one month, to be exact – the film is very pedantic about things like that). In the dystopian society in which the story is set, this means that he soon finds himself whisked off to a mysterious seaside hotel, where he has just forty five days to find himself a new partner. If he fails in his quest, he will be transformed into the animal of his choice and ‘set free’. David opts to be a lobster, because he’s always been quite good at boating and water sports. Meanwhile, he and his fellow guests go out on daily hunting expeditions in the forest, shooting ‘loners’ in the nearby woods with tranquilliser guns. For every loner they bring back, their time at the hotel will be extended. On his first day there, David meets up with ‘the limping man’ (Ben Whishaw) and ‘the lisping man’ (John C. Reilly) and forms an uneasy alliance with them – in this world, people are defined by their characteristics – David, for instance, is shortsighted. The hotel is presided over by Olivia Colman and her partner, (Gary Mountaine) who can always be called upon to perform a hysterically funny version of a Gene Pitney number, when required (trust me, it works!). Indeed, the first half of the film, is often laugh-oh-loud funny. Whishaw introducing himself to the other guests is a particular delight. In the later sections, when David goes on the run in the forest and falls under the wing of a survivalist leader (Lea Seydoux), the laughs are somewhat harder to find, but the narrative still holds you in its grip, right up to the tense and decidedly unresolved ending.

Yes, you say, but what is The Lobster actually about? Good question.

For me, it’s an allegory about relationships and the immense pressure that is placed upon them by the expectations of society. It’s about the way people have to compromise with each other in order to coexist. And it’s about mankind’s inherent selfishness, the casual cruelty that people will often inflict upon one another. It’s by no means a perfect film – but in its own, unconventional way, it’s more challenging than anything else you’re likely to encounter at the cinema, these days. And one thing’s for sure. You’ll talk about it afterwards.

4 stars

Philip Caveney