“You’re An Exception. The Rules Don’t Apply To You…”
Whilst Warren Beatty might be best known in contemporary media circles as being lead conspirator in the Best Picture fiasco at this year’s Academy Award’s ceremony, a recent high-profile cock-up more commonly known as “La La-Gate”, the attention comes in a somewhat suspiciously well timed manner considering the release of Rules Don’t Apply this week, a picture directed, produced, written by and of course, starring the cinematic legend, who takes the leading mantle as infamous businessman Howard Hughes within the setting of 1950’s Hollywood, supported by a simply enormous cast featuring the likes of Hail! Caesar star Alden Ehrenreich, Lily Collins, Matthew Broderick, Annette Bening, Alec Baldwin and the always superb, Ed Harris. With a cast as vast as this, Rules Don’t Apply is the type of movie you would think on the surface is one which everyone in the current cinematic world seemed to aching to be involved in, particularly with the reputation of Beatty at the helm, yet the finished picture is one of entirely mixed fortunes, one which suffers from a non-existent narrative and some misjudged moments of self-indulgence amidst some basic film-making errors which makes you wonder whether the real Warren Beatty should most definitely stand up.
Of the good things within Rules Don’t Apply, the leading trio of Beatty, Ehrenreich and Collins each give respectable performances amidst a screenplay which doesn’t really offer much chance to break new ground, with Beatty really hitting the zany mark in his depiction of Howard Hughes, taking cues from DiCaprio in The Aviator when needed but strictly focusing on the wilder side of the infamous billionaire, whilst Ehrenreich continues to impress every time I see him perform on screen, gearing him up for inevitable higher levels of stardom come next year’s Han Solo spin-off release. Star of the picture however is Lily Collins as the doe-eyed and wondrous Marla Mabrey, the keen and confident Virginian rookie who although is trying sometime in terms of awkward character quips and decision making, is a real find and completely holds her own against the likes of Beatty in a leading role. As for the not-so good elements of the film, Beatty treats the film as a personal blueprint for himself to engage in exceptional levels of excess, an understandable element when considering the character in which he is portraying, yet the sight of an aged Hollywood legend feeling up an intoxicated young star really didn’t sit well on a personal level whilst some fundamental film-making traits are completely disregarded, with endless questionable edits and narrative trails which simply go nowhere. resulting in a movie which ultimately is a complete drag to sit through and when you consider the talent at hand behind it, Rules Don’t Apply can only be regarded as a monumental disappointment.
Overall Score: 4/10
“What Happened That Night In The Tunnel?”
Much like the unreliable UK train service in out current state of affairs, this review comes somewhat a little late to proceedings in contrast to our usual disciplined services, due in part to my reluctance at seeing the big screen adaptation of The Girl on the Train, the ridiculously popular novel published last year and written by author Paula Hawkins, a novel in which I came to thinking it was something completely different, a novel which was indeed gripping in places but ultimately felt like a jumped up Midsummer Murders with an added slice of spice in order to fit in with the literary era of a novel such as Fifty Shades of Grey. Although book reviews aren’t a speciality of Black Ribbon just yet, Tate Taylor’s cinematic adaptation was somewhat something of a mystery on the face of it. Coming to the movie being well aware of the plot, it could have been an utter bore, yet with a cast that boasts pedigree left, right and centre, The Girl on the Train isn’t exactly remarkable, it’s just straightforwardly solid, featuring a stand out performance from Emily Blunt and sticking so close to the source material of which had the inherent problems the film contracts onto the big screen.
Where the film succeeds is in the casting of Blunt in the lead role of Rachel, who takes to the challenge of giving her all to the max, swaying in a drunken mess throughout most of the movie, unaware of her actions and the consequences that are the cornerstone of the movies’ mystery, whilst The Magnificent Seven’s Haley Bennett also deserves a mention for the conflicted Megan Hipwell. Aside from the movies’ two leading ladies, The Girl on the Train features a rafter of one-dimensional male characters, with Luke Evans and Justin Theroux being portrayed as sex/power hungry misogynist pigs, a cold portrayal of humanity in a film similarly cold and lifeless without much dramatic effect to keep it entertaining. Aside from characterisation, The Girl on the Train suffers from having the same problem as the novel; it’s just not that groundbreaking. Sure, as a two-part ITV drama it may have succeeded, yet on the big screen, Tate Taylor’s latest isn’t anything apart from good and for a film with such a cast list, I expected more.