“You Have More Talent And Imagination Than The Rest Of This Town Combined…”
Directed and written by newcomer on the block Geremy Jasper, Patti Cake$ follows in the footsteps of The Big Sick this year by being yet another independant cinematic venture which has journeyed through the avenues of film festival after film festival in order to secure the dream of a wide release in order to lay its’ claim for existence upon a much wider audience. Whereas Amazon Studios managed to secure the rights to Showalter’s endearing rom-com earlier this year, a deal which ultimately ended up resulting in rapturous praise from all across the critical board, the distribution of Patti Cake$ has landed in the laps of Fox Searchlight, and whilst Jasper’s movie was a cinematic pleasure that I managed to catch at a sneak preview this week, the releasing platform as a whole for the movie has been pretty poor, considering the closest cinema to be showing it around me is near enough forty miles away. If you are a lucky soul in close proximity of a showing however, Patti Cake$ is that rare case of a movie which yes, is ultimately predictable and overly cliched in places, but still manages to ride the lightening of it’s weaknesses and come out on top, resulting in one of the most effective feel-good, nihilistic music dramas in recent history.
Attempting to use her natural skills as a talented rapper to some form of effect within the confines of the beaten down, lifeless townland of New Jersey, Danielle Macdonald’s titular leading character is the archetypal dreamer, one who is constantly battling the abusive nature of her fellow peers and unsupportive mother in her attempts to get herself on the track of recording, selling and releasing her music to a wider audience who might just accept her for her musical talent, rather than her personal image. With a standout leading performance from Macdonald, one which mixes beautifully the portrayal of joy and clear happiness regarding her love of music and the conflicted hatred for her abusers and disbelieving acquaintances, Patti Cake$ works by concentrating heavily on the believable whilst attempting to tell a story that is well versed in the cinematic format but with a twisted edge of nihilism and introduction of oddball characters which break the mould and keep you entranced within a world which is all too familiar for many within the similar working class areas of deprivation across the world. With obvious comparisons to 8-Mile, Patti Cake$ follows in the footsteps of Eminem’s finest cinematic hour by being an effectively played, fist-punching musical drama and solidifies the notion that if given the right chance, independant movies are more than capable of keeping ground with their big-budget cousins, if not more so.
Overall Score: 8/10
“He’s A Good Person. He Wanted Me Before I Was Smart…”
Aside from making moves in the Marvel Cinematic Universe as Captain America, Chris Evans is very seldom seen in other visual ventures between the criss-crossing of fighting Tony Stark and aiding the woes of Bucky Barnes, and whilst this week’s release of Gifted is a far stretch away from CGI-fuelled mayhem and size-bending superheroes, the charismatic manner of the Hollywood star is indeed a welcome sight in a drama which allows Evans to convey his acting abilities and prove that muscle mass and tight rubber pants are not the only thing he feels comfortable doing. Directed by Marc Webb, a director renowned for the indie sensation which was (500) Days of Summer but probably best known in the geek world for the very good The Amazing Spider-Man and the not so good 2014 sequel, Gifted is a charmingly grounded family drama, one which includes a zippy and snappy narrative rife with effective comedic dialogue and tropes, and too a film which although could be classed as a good example of emotive manipulation, offers good enough reasons to bypass the saccharin sweetness at times and just enjoy the ride whilst it lasts. As the great Roger Ebert stated, “Some people like to be emotionally manipulated. I do, when it’s done well”.
Focusing on the one-two uncle and niece duo of Frank (Chris Evans) and Mary Adler (Mckenna Grace), Gifted begins primarily by setting the scene of the drama which is set to unfold, with seven year old Mary attending school for the first time and becoming increasingly noted for her outstanding mathematical abilities and street-wise nature which extends way past each and all of her similarly aged peers. At the heart of the narrative too is both the kind-hearted and softly spoken first-grade teacher Bonnie (Jenny Slate) and the Cruella de Vil-esque character of the piece, Evelyn Adler (Lindsay Duncan) who interrupts the peace and tranquillity of Frank’s quest for a normal life in order to fulfil her own petulant and wholly selfish commemorative wishes, using Mary as a pawn in a proceeding tale of family breakups and legal scaremongering, all in a quest for Evelyn’s view of the greater good. Whilst both Mckenna and Evans give both incredibly charming performances, using the great chemistry between them effectively within an array of heartwarming comedic scenes which focus on the innocence of youth and the hardship of fatherhood, Gifted does suffer from a rather overly ripe shiny-happy-people ending and the inclusion of Duncan’s steely-eyed antagonist does come across as slightly too boo-hiss at times to feel a natural fit for the overall feel of the movie. Webb knows how to do the mis-fit, slightly kooky comedy drama well, and whilst Gifted isn’t as flashy as (500) Days of Summer, it sure worked for the most part in which I was emotionally invested with its’ loving, leading characters.
Overall Score: 7/10
“Whatever It Cost My Cousin In Pain And Suffering Before He Died I Will Return With Full Measure…”
Although unaware of her particular line of writing beforehand, the release of My Cousin Rachel has not only expanded my understanding of English author Daphne du Maurier but more interestingly has highlighted the importance of her writing, particularly in regards to its’ impact on cinema, with the likes of full-on classics such as Don’t Look Now, Rebecca and The Birds all being based upon du Maurier’s talented scripture. Following in the footsteps of Nicolas Roeg and Alfred Hitchcock, arguably one of the most daunting double acts to take the mantle from, director Roger Michell brings to life du Maurier’s writings once more with My Cousin Rachel, a direct adaptation of the 1951 novel and a remake of the 1952 original movie which starred Olivia de Havilland and Richard Burton in the two leading roles, leading roles that this time are handed to Oscar winner Rachel Weisz and Their Finest star, Sam Claflin. With the infamy and reputation of previous successes of du Maurier’s works in the background, My Cousin Rachel understandably is nowhere near the calibre of anything from Hitchcock or Roeg, but with a stand out performance from Weisz and some gorgeous costume and set design, Michell’s movie is a solid enough attempt to transpose the ambiguous and paranoid writing of du Maurier onto the big screen.
Whilst the film’s narrative effectively reeks of uncanny uncertainty, the movie is undoubtedly bolstered by the magnetic presence of Rachel Weisz in the titular leading role, giving a superbly maligned performance which edges on the side of both troubled innocent and femme fetale depending on where exactly you believe the underlying plot is being directed by the careful hand of Roger Michell. Whilst Weisz is the undeniable guiding light of the movie, the same unfortunately cannot be said for the likes of Sam Claflin as Phillip, the incredibly annoying and wholly idiotic man-child who immaturely decides to deconstruct his entire life slowly but surely over the course of the film’s two hour runtime all-the-while the audience responds not with an inch of sorrow or remorse but instead wondering how on earth such a devious tit managed to achieve such wealth to begin with. Whether it be petulantly screaming and barking orders at his much more humane serving staff or wondering whether he is at the epicentre of a epic murderous scandal, Claflin has successfully gone and created arguably the most annoying leading character of the year so far, and when put up against the strong centrality of Weisz’s character, Claflin’s Phillip ultimately is a complete fail. Whilst the film’s key mystery is arguably too anti-climactic and the plot sometimes downgrading into lulls of utter dreariness, My Cousin Rachel passed the time nicely in a way which will see it on the BBC Two afternoon schedule sometime in your near future.