{"id":2106,"date":"2018-01-31T17:52:40","date_gmt":"2018-01-31T17:52:40","guid":{"rendered":"http:\/\/tomsalinsky.co.uk\/blog\/?p=2106"},"modified":"2018-01-31T17:52:40","modified_gmt":"2018-01-31T17:52:40","slug":"oscars-2018-darkest-hour-and-three-billboards","status":"publish","type":"post","link":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/2018\/01\/31\/oscars-2018-darkest-hour-and-three-billboards\/","title":{"rendered":"Oscars 2018 \u2013 Darkest Hour and Three Billboards"},"content":{"rendered":"

Here we are again. As well as podcasting about the Oscars<\/a>, I intend to continue blogging about them, so here are the runners and riders for the 90th<\/sup> Academy Awards\u2026<\/p>\n

Call Me By Your Name<\/strong> \u2013 reviewed here<\/a>. Moving drama with incredible performances and not quite enough story to sustain the length.<\/p>\n

Darkest Hour<\/strong> \u2013 enjoyable history lesson with some ghastly lapses, held together by a wonderful central performance. Full review below.<\/p>\n

Dunkirk<\/strong> \u2013 often very effective outing for Nolan\u2019s rigorous style and not overlong, but not all sequences are equally effective<\/p>\n

Get Out<\/strong> – stunning achievement, marrying black comedy, horror and social commentary in a brilliantly controlled manner.<\/p>\n

Lady Bird<\/strong> \u2013 have yet to see, but looks great<\/p>\n

Phantom Thread<\/strong> \u2013 have yet to see, and I don\u2019t always enjoy Paul Thomas Anderson\u2019s stuff, so I’m anxious<\/p>\n

The Post<\/strong> \u2013 have yet to see, and worry that it is inessential<\/p>\n

The Shape of Water<\/strong> \u2013 have yet to see, but it looks amazing<\/p>\n

Three Billboards Outside Ebbing, Missouri<\/strong> \u2013 marvellous, meditative drama, which always kept me guessing. Full review below<\/p>\n

Darkest Hour<\/h2>\n

\"\"<\/a><\/p>\n

Where would the Academy Awards be without a biopic of a famous historical character, played by a beloved character actor, labouring under mounds of latex? Some years we get several, this year Joe Wright and Gary Oldman provide the only one (unless you count The Post<\/em>) although not the only film about Dunkirk.<\/p>\n

To begin with, Oldman is amazing, with the aforementioned mound of latex applied gingerly and not too roughly, so that \u2013 while the resemblance is sometimes absolutely total \u2013 Oldman\u2019s interpretation of the role is allowed to shine through. He completely inhabits the character \u2013 flaws, ideals, strengths, lapses and doubts \u2013 and never dips into caricature. Overall, I think his performance in Tinker Tailor Soldier Spy<\/em> is probably finer (who else would dare go toe-to-toe with Alec Guinness) but this is the kind of expert showboating that the Academy loves and it\u2019s hugely satisfying and fun to watch.<\/p>\n

Director Joe Wright surrounds Oldman with an impressive roster of supporting actors too, from Kristin Scott-Thomas who eagerly laps up what tiny crumbs the script gives her and manages to sketch in something resembling a human in barely five minutes of screen-time; to Ronald Pickup, born to play Chamberlain and an excellent Ben Mendelsohn as stammering Bertie.<\/p>\n

What isn\u2019t quite so satisfactory is the script. The raw story arguably gives writer Anthony McCarten more to work with than the life of Stephen Hawking, but the pages he has produced are often equally flaccid and unconvincing as they were in The Theory of Everything<\/em>. One huge problem is that the story, which pits Churchill\u2019s newly-anointed Prime Minister against a gag of senior appeasers, doesn\u2019t give him adequate space to articulate his views on how best to deal with the Nazi menace.<\/p>\n

Senior parliamentary figures, having agreed to a war-time coalition on the basis that Chamberlain is removed from office, select Churchill as his successor, presumably knowing that he is certain that Hitler must be opposed and by military force, and then proceed to act as if the very thing was absolutely unthinkable. With the benefit of hindsight, it\u2019s clear that appeasement would have been a dreadful folly, but McCarten is so keen to make sure that Chamberlain, Halifax and the others are able to clearly explain the logic behind appeasement that he never gives Churchill the same opportunity. The result is that Winston is painted as a warmongering maverick who on this occasion got lucky. See Spielberg\u2019s Lincoln<\/em> for how to do this right. That film glides sedately to a stop while the President lays out exactly why nothing short of a constitutional amendment will do, because Spielberg understands that while such a scene might lack in visual excitement or emotional heft, if that issue is not made absolutely clear, then nothing else in the movie is going to matter.<\/p>\n

And this may be the wrong place to bring this criticism up, but Oldman-as-Churchill is the latest in a long line of figures which I might call The Rude Good Man<\/strong>. This is a character who is breathtakingly arrogant and rude to those around him (often women) but whose rudeness is not without wit, and so we are invited to find it funny and iconoclastic (instead of just aggressive and unpleasant) and with whom we empathise because he is saying the unsayable and he is ultimately on the side of the angels. Isn\u2019t it time this figure was laid to rest and Lily James given something to do other than have verbal punishment meted out to her?<\/p>\n

So at the end of the film, Churchill must win over the doubters. Unlike Ava DuVernay, Wright is able to use Churchill\u2019s real speeches, so we don\u2019t get some awful paraphrase of \u201cWe will fight them on the beaches,\u201d but the already-shaky logic of the film rather falls apart here. Churchill is criticised early on for not being straight with the people of Britain about just how dire the situation is. When the King comes around to his Prime Minister\u2019s way of thinking (an epiphany which frustratingly happens off-screen) he tells him that they are now in partnership, but that the PM must start being straight with the British people. Churchill nods in agreement, but that is the last appearance of the King in the movie, and Churchill\u2019s next opportunity to speak to the nation is the aforementioned famous barnstorming speech.<\/p>\n

In fact, according to McCarten and Wright, what Churchill needed was to spend an implausibly long time going one stop on the London Underground, hob-nobbing with ordinary Londoners in order to kick-start his torpid confirmation bias. The absurd scene is the nadir of an otherwise fairly enjoyable film, and appears to have been left over from an earlier, sillier draft in which Churchill was made to sound like a Spitting Image<\/em> puppet of Jeremy Corbyn, trying to score points in the house by asking questions from “ordinary voters”.<\/p>\n

As far as the shooting goes, Wright does create a strong sense of place and time and texture, and he manages to pull off some impressive shots. What he lacks is the ability \u2013 which, again, Spielberg always seems to have had \u2013 to sew a number of amazing shots together into a fluid and dynamic sequence. Wright\u2019s bravura dollies-to-the-sky and so on stand out because in the edit they are too often sandwiched between very static or otherwise pedestrian set-ups.<\/p>\n

So \u2013 top ten movie of the year? Clearly not. But quite an enjoyable history lesson and a wonderful opportunity for one of our best actors to have a blast.<\/p>\n

Three Billboards Outside Ebbing Missouri<\/h2>\n

\"\"<\/a><\/p>\n

Following his debut feature In Bruges<\/em>, which was astonishing unless you were already familiar with his amazing stage work, writer-director Martin McDonagh stumbled slightly with the diverting but hollow Seven Psychopaths<\/em>. Three Billboards<\/em> feels like his most mature, complex and satisfying work to date. Not nearly as much fun as In Bruges<\/em> (no-one even comes close to exploding the head of a little person, even though there\u2019s a little person right there<\/u><\/em> and nobody calls anyone an inanimate fucking object at any stage) but considerably deeper, richer and more interesting.<\/p>\n

Frances McDormand is excellent as grieving mother Mildred Hayes, who pays $5000 to put up three enormous billboards on a quiet country road, taunting the local police for their inability to find her daughter\u2019s killer. McDonagh\u2019s work in the theatre hasn\u2019t lead him to fall into the trap of telling the whole story verbally. People having ideas is one of the hardest things to pull off in cinema. From the opening of this film, I know I\u2019m in safe hands, because McDonagh doesn\u2019t make a meal of it. He just films McDormand driving past the derelict billboards and looking at them. That\u2019s all you need.<\/p>\n

This action sets up a wave of recriminations which touches Sam Rockwell\u2019s racist thug of a cop, John Hawkes as Mildred\u2019s ex-husband, Caleb Landry-Jones as the billboard manager and essentially the whole town. McDonagh\u2019s first master-stroke (of many) is making the principle antagonist, Woody Harrelson\u2019s Chief Willoughby, not an intransigent authority figure but instead a deeply compassionate family man with a cancer diagnosis.<\/p>\n

To say much more would be to spoil this endlessly rich and rewarding film, but what really struck me was how the playwright\u2019s cynical and mordant tone has shifted into something much more hopeful and optimistic. So, yes, we do get some clumsy racial slurs early on (which to be honest, the film doesn\u2019t need and which stick in the throat a bit), as well as the nasty fun of McDormand drilling a hole through a disgruntled dentist\u2019s thumbnail, or \u2013 in one amazing shot \u2013 Rockwell tossing Landry-Jones out of a second-storey window. But ultimately, the film offers us a redemptive view of humanity which is hugely refreshing and uplifting.<\/p>\n

Some of the plot contrivances have come in for criticism, and I understand where those critiques are coming from (hi guys) but I don\u2019t entirely share them, except in one case, very near the middle of the film, where poor old \u017deljko Ivanek is made to recite some truly awful dialogue which makes no sense at all, but which is simply required to move one of the chess pieces to the appropriate square on the board. What\u2019s much more laudable is the way McDonagh manages to avoid the plot disintegrating into a very uninteresting whodunnit without the gears grinding in the least little way. And what’s truly impressive is the that the film constantly kept me guessing without me ever feeling cheated, bewildered or manipulated.<\/p>\n

Every member of the cast acquits themselves with honour \u2013 look it\u2019s Lester Freamon! \u2013 and Carter Burwell\u2019s music knits the whole thing together. A wonderful film to savour, bar a few tiny stumbles.<\/p>\n","protected":false},"excerpt":{"rendered":"

Here we are again. As well as podcasting about the Oscars, I intend to continue blogging about them, so here are the runners and riders for the 90th Academy Awards\u2026 Call Me By Your Name \u2013 reviewed here. Moving drama with incredible performances and not quite enough story to sustain the length. Darkest Hour \u2013 […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[25,11],"tags":[439,514,512,513,511,509,19,510],"class_list":["post-2106","post","type-post","status-publish","format-standard","hentry","category-at-the-cinema","category-culture","tag-biopic","tag-churchill","tag-darkest-hour","tag-gary-oldman","tag-martin-mcdonagh","tag-oscars-2018","tag-reviews","tag-three-billboards"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p5JY5l-xY","jetpack-related-posts":[],"_links":{"self":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/comments?post=2106"}],"version-history":[{"count":6,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2106\/revisions"}],"predecessor-version":[{"id":2116,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/posts\/2106\/revisions\/2116"}],"wp:attachment":[{"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/media?parent=2106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/categories?post=2106"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/tomsalinsky.co.uk\/blog\/index.php\/wp-json\/wp\/v2\/tags?post=2106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}