“Sooner Or Later The Party Has To End…”
Less of a coming of age drama and more like a raging alcohol and drug fuelled stupor, South Australian director, Sophie Hyde, brings to life Emma Jane Unsworth’s 2014 novel of the same name in the form of Animals, an internationally produced “buddy” movie which sees Holliday Grainger (My Cousin Rachel) and Alia Shawkat (Green Room) as Laura and Tyler, two close friends hitting the tender age of their mid-30’s who spend their time frolicking, excessively drinking and partaking in hard drugs in the name of staying young, keeping fresh and shying away from the responsibilities of the “adult” world. Screened to the public at this year’s Sundance Film Festival and departing with a overly positive buzz, Hyde’s movie is a refreshingly low-key if wildly spirited take on the trials and tribulations of adulthood, one which embraces many of the plot devices and genre conventions evident in previous and better works of a similar ilk, but too a film which works off the strengths of its’ leading characters as we follow them through a particular path which audiences of similar age range will undoubtedly understand and sheepishly relate to.
With 2019 seemingly being the year where the coming of age movie has re-emerged into the cinematic spotlight, Animals follows most closely to the likes of Booksmart in some ways, a film which takes the American Graffiti route of exploring one last childhood hurrah before venturing into the world of growing up, and whilst of course the age ranges of our particular characters in each film differ by a decade or so, the central narrative of Hyde’s movie focuses on two friends seemingly reluctant to take that next step into becoming what they fear most; serious adults. With Grainger’s Laura then becoming the first to attempt to bridge the gap between child and adult as she falls in love with Fra Free’s (Les Misérables) mopey, piano loving straighthead, tensions soon build up between the pair, with each seemingly beginning to resent each other as they slowly drift apart as Laura falls more into the trap of modern-day normalisation involving marriage and family, whilst Tyler continues her life of unemployment, heavy drinking and endless partying. With the film relying on the central double act to basically hold the film together, the performances of both Grainger and Shawkat are good enough to keep you more than interested, aided nicely by some sharp comedic dialogue and snappy sarcastic quips, and whilst Hyde’s movie will come and go without leaving much of a lasting impression, Animals is an enjoyable, if slightly wandering, tale of friendship and the ability to drink many, many bottles of white wine.
Overall Score: 6/10
“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.
Overall Score: 6/10
“In The Coast Guard They Say You Go Out, They Don’t Say You Gotta Come Back…”
Based upon “The Finest Hours: The True Story of the U.S. Coast Guard’s Most Daring Sea Rescue” by Michael J. Tougias and Casey Sherman, Craig Gillespie’s The Finest Hours is a film that intends to be as gripping and wet-soaked as the shores of Cape Cod but ultimately comes off as more of a damp squib, with a cast including Captain Kirk himself, Chris Pine, Casey Affleck and Eric Bana not enough to save it from the pit of mediocrity it safely floats upon before inevitably sinking into the realms of history. Much like the true-life tale, an anecdote I’m sure incredibly popular and well versed between the secular, sea-wise clans of the U.S. Coast Guard, The Finest Hours is a movie that has somewhat been hidden under the radar and away from the cinematic masses, with not even a trailer being in sight within my many ventures to the world of cine over the course of the past few months or so, and with this in mind, the sheer lack of advertisement and press-hounding may indeed result in the film not exactly finding a key audience. Were it a more intriguing tale of survival in line with other sea-faring adventures such as Ang Lee’s The Life of Pi, The Perfect Storm and even, see it to believe it, Titanic, perhaps The Finest Hours could have been the riveting adventure it perhaps wanted to be seen as.
Adding to the mediocrity is the fundamental saccharin sweet nature of the movie, with the influence of Disney being particularly noticeable within scenes that not only encourage the burning sensation of a face-palm, but also result in either a painful palpitation of a cringe-induced stasis or a desire to swiftly stick fingers down your throat in order to release the sickly build-up of Disney-induced diseases. Aside from the land of over-sentimentality, award for most unintentional psycho, co-dependant girlfriend of the year has to go to Holliday Grainger for her role as Chris Pine love interest, Miriam Webber, a role which could easily be seen as a mid-20th century portrayal of Glenn Close in Fatal Attraction. Seriously, if you aren’t put off by the possibility of a creepy girlfriend by The Finest Hours, then nothing will. In a nutshell therefore, The Finest Hours sure ain’t the film it would love to be, with a sheer lack of threat or suspense killing the film stone dead, a film which requires such in order to be seen as truly worthwhile. See it in a Blockbuster near you. Oh wait, this isn’t 2003. Just catch it when you can, but don’t rush to see it.