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Written by Matthew Toomey

Created: 02 May 2019

William Shakespeare wrote some brilliant plays (unless you believe the 2011 Roland Emmerich film Anonymous) and whilst his words have stood the test of time, the same can’t be said for details regarding his personal life.  The first known biography of Shakespeare was written in 1709 (almost a century after his death) and it was less of a memoir and more of a critical assessment of his writings.  Further, many details in that biography were subsequently proven to be false.

There’s a sense of irony with the title All is True.  Whilst it’s referring to the original title of Shakespeare’s final play, Henry VIII, those expecting a true-to-life account of the playwright’s later years will be disappointed.  Writer Ben Elton (Blackadder) has crafted a screenplay that pulls from the scant details known about Shakespeare and creates a soapie-style drama where he interacts with an assortment of characters.

If there’s one clear takeaway, it’s that William Shakespeare was a boring, self-absorbed kind of guy.  The fifty-something-year-old version we see in the movie, played by Kenneth Branagh, has retired as a writer.  He laments that he’s spent so much time in his fictional worlds that he’s lost sight of what should be most important – his family.  He’s now spending more time with his wife (Dench) and two daughters, one of whom is unhappily married and the other who is looking to be married.

The problem is that while Shakespeare is physically present, his mind is elsewhere.  It’s a subplot that’s hard to buy into but Shakespeare is only now grieving the death of his son, Hamnet, who passed away two decades ago at the age of 11.  He had always wanted a male heir and he felt that Hamnet could have pursued a similarly prosperous career as a playwright.  Shakespeare is building a backyard garden in his honour and he still carries some of the poems Hamnet wrote just prior to being struck down with the plague.

All is True offers some likeable performances.  Kenneth Branagh, sporting a fake nose and beard, clearly relishes the chance to put his spin on one of history’s greatest writers.  That said, it’s Judi Dench who steals the show with her performance as Shakespeare’s wife, Anne Hathaway.  She’s the more interesting character as we follow the give-and-take dynamic between the pair.  She’s quick to say what’s on her mind… but she also knows not to push things too far given her “place” in a male dominated world.

Becoming bogged down in not-so-interesting diversions (such as Shakespeare’s garden and his obsession to have a male grandchild), All is True is further weakened by unexpected twists about Shakespeare’s son (a feeble attempt to create melodrama) and a rushed, lacklustre finale that takes the many subplots and wraps them up in a manner than feels far too neat.  Some will enjoy this imagining of Shakespeare’s world but I struggled to see the value.

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Written by Matthew Toomey

Created: 24 April 2019

Prior to last year’s release of Avengers: Infinity War, there was speculation about whether Marvel could have the courage to do something that’s rarely done within this genre – to kill off a beloved superhero.  Writers Christopher Markus and Stephen McFeely surprised audiences by going even further.  The film culminated with the demise of not just one hero… but half of the entire cast!

Given that we’ve grown accustomed to heroes defeating villains, the finale’s unexpectedly downbeat tone provided one of the biggest cliffhangers in cinema history.  Thankfully, the twelve month wait is over and we can finally discover what happens next.  Avengers: Endgame clocks in at a whopping 181 minutes (don’t drink too much water beforehand) and considering the last film made $2.05 billion USD at the world-wide box-office, this follow-up has its sights on Avatar’s record haul of $2.78 billion USD (set back in 2009).

Infinity War and Endgame have had one of the biggest (and most expensive) casts in movie history but the reason for their success and popularity comes down to a single character – Thanos (played by Josh Brolin).  Villains within the action genre tend to be poorly developed, one-dimensional individuals who are driven by power and nothing else.  They also have a knack for crafting illogical plans and working with incompetent henchmen.

That’s not the case here.  Thanos is a fascinating character who is killing billions of people but one could argue that his actions are justified.  He believes that the universe has become unsustainable due to overpopulation and given the limited amount of resources (e.g. food, water), we’d only destroy ourselves anyway if we continue on our current path.  I’m not saying I agree with Thanos’ plan but there’s a rationale behind his actions.  It’s why he located the six Infinity Stones in the last movie and then used them to obliterate one-half of the universe’s population.

Avengers: Endgame picks things up in the moments following Thanos’ universe changing act.  Where it goes from there… I will not say.  A major part of its lure is the fact that we’ve been waiting so long to find out what happens.  There have been next-to-no preview screenings and the trailers and TV advertisements give little away.

This is an “event” movie.  I’m reminded a little of when I saw Harry Potter and the Cursed Child on Broadway in New York.  It’s not perfectly written or structured (if I’m being truly critical) but it provides a spectacle and an experience that’s hard to forget.  I’ve reviewed close to 5,000 movies in theatres and I don’t think I’ve seen another movie that generated such an audible reaction from the audience.  The hooting, hollering and applauding was constant (and added to my enjoyment).

The movie provides an appropriate climax for this point in the Marvel Cinematic Universe.  There’s some great dialogue and character interaction (particularly in the opening hour) which can often be lacking within the genre.  The film also finds a way to balance up the many storylines and subplots.  The more you can remember from the previous 21 movies, the more you’re likely to take away.

With plenty of surprises and the right mix between comedy and drama, Avengers: Endgame lives up to its hype.

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Written by Matthew Toomey

Created: 26 April 2019

For many who enter politics in the United States, there’s a long term dream that they’ll one day get to sit behind the Oval Office’s Resolute desk and provide direction in their capacity as President.  In the case of Charlotte Field (Theron), that may be happening sooner than expected.  She’s already the youngest Secretary of State in history and with President Chambers (Odenkirk) looking to step down after one term to pursue a film career, he’s ready to endorse Charlotte as his successor.

Charlotte has a hard-working team that are providing her with poll numbers (they’re goofily high) but there are a few areas that she needs to work on.  The public have concerns about her awkward wave and her non-existent sense of humour.  You might think that people would select a candidate based on policy but given everything we’ve seen around the world over the past few years, a discussion about a politician’s comedic tone is not that outrageous.

It’s at this point where she teams up with an unlikely assistant.  Fred Flarsky (Rogen) is a journalist who recently quit his job for a local newspaper after it was bought out by a wealthy, influential media tycoon (Serkis).  He’s a man of integrity and didn’t want to see his investigative work squashed by partisan, right-wing management.  Much to the displeasure of Charlotte’s team (who aren’t a fan), she brings Fred on as a speech writer to help inject her addresses with a splash of colour and humour.

They’re an unlikely duo but there is a backstory.  These two grew up together in the same neighbourhood with a 16-year-old Charlotte, seeking election at the time for the position of school president, babysitting a 13-year-old Fred.  It’s been decades since they’ve spoken but after bumping into each other at low-key Boyz II Men performance, their friendship was rekindled and the job offer made.

Watching Long Shot brought back memories of a favourite romantic comedy from the 1990s – Rob Reiner’s The American President.  It was the tale of a popular President (Michael Douglas) driving major policy initiatives around gun control and climate change whilst also falling in love in an intelligent lobbyist (Annette Bening).  His opponent (Richard Dreyfuss) then uses the President’s love life as a tool to attack his clean, family-friendly image.

Long Shot is pushing a similar message but it does so in a less convincing manner.  Charlotte is talking up a worldwide environmental initiative (“Bees, Trees and Seas”) but this element, which is the most interesting in the film, is over-simplified to make room for duller subplots (such as the media mogul).  Rather than say something on the complex, high-negotiation world of politics, you’re left thinking that Charlotte is a quasi-saint given the simplicity at which she schmoozes world leaders.  It doesn’t feel authentic.

Rather than delve too deeply into the political angle, Long Shot becomes a safer romantic comedy by focusing on the sexual relationship that develops between Charlotte and Fred.  It too struggles to make an impact given the contrived nature of some scenes (e.g. an action piece in The Philippines) and the fact their life values are significantly different.  Again, I didn’t buy into it.

Directed by Jonathan Levine (50/50), Long Shot has a few good laughs but they’re not quite enough to make up for its broader shortcomings.

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Written by Matthew Toomey

Created: 21 April 2019

I’ve seen the musical Jersey Boys twice – once with a friend on London’s West End in 2010 and once with my Frankie Valli-loving mother here in Brisbane in 2012.  The cast was different (obviously) but the songs, the storyline and the theatrics were all largely the same.  It’s what you’d expect when a successful Broadway musical is taken around the globe.  You don’t mess with what works.

That said, it’s rare to see that same formula used in cinema.  In 2013, director Sebastián Lelio (A Fantastic Woman) made a charming Chilean-Spanish drama (Gloria) about a lonely woman in her late 50s who was struggling to find friends and romance.  Star Paulina García won the award for best actress at the Berlin Film Festival and 99% of critics gave it the “thumbs up” on the Rotten Tomatoes website.

Academy Award winning actress Julianne Moore (Still Alice) loved the film and through the help of a mutual manager, she organised an hour-long meeting with Lelio in Paris.  It was at that point that the wheels were put in motion for an American remake.  Lelio would team up with an American writer (Alice Johnson Boher) to help translate it into a Los Angeles setting and Moore agreed to take on the lead role while also serving as an executive producer.

It’s remarkable how little has changed between the two versions.  I could cut and paste the plot overview from my original review and I wouldn’t need to change a word.  That’s not to say this isn’t an equally entertaining movie.  To tie it back to my earlier Jersey Boys analogy, it’s still the same delightful character study – it’s just that this time, it’s in English (as opposed to Spanish) and with different actors.

If you’re new to the material, Gloria Bell (Moore) is long-time divorcee who puts up a brave face around others but deep down, it’s evident that something is missing from her life.  Her children have grown up and moved out of home and she doesn’t have a broad friendship group.  It seems that she’s happiest in the car (where she gleefully sings her favourite songs) and in bars (where she passionately hits the dancefloor and meets new men).

Having spent years waiting for the right guy to come along, Gloria appears to have found love again with Arnold (Turturro), a grey-haired, softly spoken suitor.  They enjoy spending time together but the clingy Arnold comes with baggage.  His divorce was much more recent and he’s struggling to escape the non-stop phone calls from his ex-wife and unnecessarily dependent children.  Gloria, a touch insecure after years living as a single woman, isn’t quite sure how to handle the situation.

Gloria Bell is an authentic romantic drama that is void of clichés and over-scripted dialogue.  From the opening sequence to the thought-provoking dance number just prior to the closing credits, you’ll be interested in Gloria’s world and her search for happiness.  Julianne Moore appears in every scene and, as expected, delivers a heartfelt performance.  It’s hard not to feel empathy for her character.

Cinemas will be packed this weekend with most looking to see Avengers: Endgame but if you’re looking for a non-comic book alternative, Gloria Bell is a great choice.

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Written by Matthew Toomey

Created: 26 April 2019

When crafting a romantic comedy, you can try to stay within the realms of realism or you can go for a full-blown farce.  Writers Miranda Tapsell and Joshua Tyler have gone with the second option for Top End Wedding.  Inspired by some of the crazy rom-coms we see coming out of the United States, they’ve put an Aussie flavour on the genre with a Northern Territory setting and an indigenous leading lady.

Lauren (Tapsell) is successful big-city lawyer based in Adelaide who is ticking all the boxes in terms of career progression.  She can speak French, she has a great rapport with clients, and she’s happy to put in very long hours for the betterment of the firm.  It’s at this point where things start to get a little haywire.

Lauren recently got engaged to her long-term boyfriend, Ned (Lee).  That’s good.  Sadly, Ned is withholding the fact that he’s quit his job and is now unemployed.  That’s bad.  Lauren’s boss, dubbed ‘Cruella de Vil” because of her domineering nature, oddly decides to give Lauren two weeks off work so she can do a quick-fire wedding.  That’s good (albeit a little strange).  Unfortunately, Lauren’s mother has gone off the grid in Darwin (after walking out on her husband) and the wedding cannot proceed until she’s located.  That’s bad.

The next hour is a muddling conglomeration of comedic scenes.  Lauren borrows her father’s four-wheel drive and together with Ned, they go on a road trip through the Northern Territory in search of her mother.  They run into enough people along the way who can provide clues as to her whereabouts.  As all this goes on, wedding preparations continue back in Darwin.  Lauren’s workaholic, semi-villainous boss is quick to take the organisational lead and dish out responsibilities to friends and family members.

Top End Wedding is a film that struggles to balance the tones between comedy and drama.  One minute, Lauren and Ned are frantically driving across the country and worried about her mother’s wellbeing.  The next minute, they’re going for a romantic “time out” while taking in the sights of Kakadu.  These scenarios feel overly manufactured and scripted.  It’s as if the movie is part story, part tourism advertisement.  The continual “cross backs” to the goofy Darwin wedding preparations add to the film’s awkward flow.

While the opening hour is messy, Top End Wedding delivers in the final act with a heartfelt, emotional finale.  Without giving too much away, it has something to say about the importance of family and our heritage.  There are times when we become so preoccupied in the stresses of day-to-day life that we don’t appreciate the sacrifices made by our parents and grandparents to help get us to this spot.  It’s a worthy message.

Top End Wedding marks the first Australian feature film for director Wayne Blair since The Sapphires, the very successful movie that pulled in more than $14 million at the local box-office and won 11 AACTA Awards.  I don’t believe Top End Wedding will achieve the same level of acclaim but fans of the romantic comedy genre should have plenty of fun.

You can read my interview with director Wayne Blair by clicking here.