“You Gave It All To Her, Right In Front of Me…”
Tackling the ridiculously difficult genre of the erotic thriller for a debut picture, new kid on the block, Denise Di Novi, seems to have gone full flow with the notion that to get somewhere quickly, the hardest options are sometimes the best to get out of the way. In regards to recent depictions of such a genre, within this year even, the widespread level of excellence ranges from the utter shoddy in the form of the Fifty Shades franchise to the interesting and brilliantly executed, with Elle and Park Chan Wook’s The Handmaiden being top-end depictions of eroticism upon the big-screen, helped primarily from scripts which attempt to shake up the format and offer something original instead of simply falling into the pot of generic silliness. Unfortunately for Di Novi, Unforgettable is the type of movie which you question how it actually managed to make it onto the big screen with it clearly being the type of erotic thriller that is destined for the clearance DVD bin in your local supermarket sometime in the near future, yet with star power in the form of Rosario Dawson and Katherine Heigl holding down the fort, Unforgettable is passable, generic popcorn nonsense which ticks all the boxes in a manner which is both swift and unoffensive.
Whilst the trailer for the movie conforms to the common issue of giving away not just the main bulk of the movie but indeed the entire bleeding plot, Unforgettable comes across as representing itself as the 21st century model of Basic Instinct, yet without the shore footing of Elle director Paul Verhoeven in its’ corner and without the iconic image of Sharon Stone as the film’s leading bunny boiler. Replacing Stone in such a role is Katherine Heigl, the plain faced barbie doll who takes the character of the kooky and wholly obsessive ex-wife and completely runs with it. demonstrating the idea that girls with slicked back hair and a penchant for cleaning silver utensils are without question a grade A psychopath. On the other side of the court is Rosario Dawson’s leading heroine, a character who through a wide range of questionable decisions ends up battered, bruised and completely ostracised from her newly found fiancee throughout the course of the movie in a manner in which is meant to exert a sense of tension from the audience, an audience which are way too clever and knowing to see where the entire plot is heading straight from the outset. The Handmaiden it ain’t, Unforgettable is ironically, quite forgettable and is saved primarily due to its’ two leading stars which prevent the film from disappearing into nonexistence forever.
Overall Score: 4/10
“I Can’t Beat It. I Can’t Beat It, I’m Sorry…”
Arriving on a weekend packed to the rafters with a wide range of movie releases, the release of Manchester By The Sea carries with it the annoyingly unavoidable air of hype which has engulfed it over the past few months or so, resulting in an inevitable array of Golden Globe nominations as well as being tipped as one of the top contenders for the upcoming Academy Awards which takes place next month. Directed by Kenneth Lonergan, whose previous credits include screenplays for Gangs of New York and Analyze This, Manchester By The Sea follows in the footsteps of La La Land by being a film which lives up to its’ high expectations, a touching tale of loss, sorrow and the chance of redemption held together by a simply outstanding performance from Casey Affleck who undoubtedly will walk away with the Oscar for Best Actor next month, and a sharp, snappy screenplay which dissects the everyday notions of family and friendship upon an overarching melancholic plot thread which acts as the central cornerstone of a movie seeped in utterly believable human emotion.
Cowering throughout the movie in an unbearable understated embodiment of repressed emotion, Affleck’s Lee Chandler is a complex shadow of a character, one who is brought back to his titular homeland after the death of his brother and one whose societal absence verges on the edge of a complete dissociation with anyone around who shows him the slightest bit of attention. Add into the mix Lucas Hedge’s Patrick, the son of Lee’s lost brother, and the film begins to unravel a parallel between the past and the future, one which balances out loss with a chance of redemption for a character who could easily burst into a complete and utter meltdown at any moment throughout the film. Subsequently, the commanding performance of Affleck ironically leads to the film’s only real setback, with Michelle Williams strangely seeming rather absent and underused, alongside other characters which come and go rather too swiftly. Ultimately, Manchester By The Sea is Affleck’s movie entirely and the down-to-earth dramatic turns and realist decisions by his character result in a film which is up there with the most rewarding dramas to be released in recent memory and for a film which is just under two and a half hours, it seemed strange to be leaving the cinema by actually wanting more, the sign of a cracker if ever there was one.