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Written by Matthew Toomey

Created: 24 October 2022

The much-loved Mrs. Harris was the creation of American author Paul Gallico who penned four novels about her adventures between 1958 and 1974.  Mrs. Harris Goes to Paris is an adaptation of the first book and is part of a small collective of films with rhyming titles.  Other entries include The Cat in the Hat, Drop Dead Fred, Hocus Pocus, and Mr. Magorium’s Wonder Emporium.  If we’re being technical, this isn’t a new entry though.  Fans of the late Angela Lansbury may remember she starred in a largely forgotten television movie based on Gallico’s work back in 1992 (Mrs. ‘Arris Goes to Paris).

Academy Award nominee Lesley Manville (Another Year, Phantom Thread) steps into the shoes of Ada Harris and it’s a role that requires her to be sweet and loveable.  The year is 1957 and after losing her husband during World War II, she’s spent the last 13 years as an “invisible” widower living in London who goes about her routine days with minimal fuss and fanfare.  She works as a poorly paid housekeeper before finishing most evenings with a drink amongst loyal friends at the local pub.

It’s while in the home of a snobby client that she first lays eyes on a £500 dress crafted by French designer Christian Dior.  It’s one of the most beautiful things Mrs. Harris has ever seen and, in a temporary moment of madness, she decides to travel to Paris and purchase a similarly exquisite dress for herself.  She doesn’t have the money but a few convenient plot devices take care of that – she wins a tidy sum playing the Pools, she gets a reward for finding a missing ring, and she receives a 13-year back-paid war widow’s pension.  It all adds up to £582 which is enough to cover the cost of the dress plus flights.

Much of the film is then spent in Paris where Mrs. Harris unwittingly charms her way into the lives of others.  She is initially looked down upon by Dior’s snobby management but once they see her cash-laden purse, perceptions change and she’s welcomed with open arms.  It will take roughly two weeks to complete the fitting and design and so Mrs. Harris spends her time sightseeing around Paris in the company of a wealthy nobleman (Wilson), an astute accountant (Bravo), and a budding model (Baptista).

One could easily think this was written by Hans Christian Anderson given it has the look and feel of an over-the-top fairy tale.  There are a few bumps along the way but for the most part, it’s filled with happy, smiling people who have a part to play in helping Mrs. Harris fulfill her unusual dream.  It’s a crowd-pleaser but there’s so much sugar and syrup that it’s difficult to swallow at times.  Mrs. Harris has an uncanny knack for bumping into people at “just” the right time, and her connections with key individuals (such as the wealthy nobleman) feel more contrived than authentic.

All of that said, I’m a long-time fan of Lesley Manville and even I’ll admit to being won over by her likeable performance.  If looking for a simple reminder that good things can happen to good people, Mrs. Harris Goes to Paris is for you.

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Written by Matthew Toomey

Created: 18 October 2022

The dead body of a local 60-year-old man is found at the bottom of a mountain range in South Korea.  It appears to be an unfortunate rock-climbing mishap and in the eyes of many, a costly, time-consuming investigation would be unwarranted.  Experienced detective Seo-rae (Wei) thinks otherwise however.  He and his brash partner (Kyung-pyo) focus their attention on the man’s younger, Chinese-born wife, Hae-jun (Hae-il).  The physical abuse she recently received from her late husband creates a plausible motive but does she have the capability of committing murder and if so, how did she orchestrate it to look like an innocuous accident?

Decision to Leave then goes down an unusual path – the detective and the suspect fall in love.  It sounds like an idea borrowed from a corny, Hollywood thriller trying to offer something for all audiences but director Park Chan-wook (Oldboy, Snowpiercer) handles it with precision.  The development of their relationship will keep audiences on their toes.  Is their love mutual and genuine?  Or is one of them (perhaps both) trying to “play” the other in pursuit of a separate agenda?  It’s easy to see why comparisons have been made to movies such as Vertigo and Basic Instinct.

It’s a terrific screenplay filled with distinctive moments.  One of my favourite scenes sees Seo-rae interrogate Hae-jun in a police station interview room as colleagues look on through a one-way mirror.  The suspect is entitled to basic food but Seo-rae goes above and beyond by ordering an expensive sushi set for them to share as the interview takes place.  It’s a moment that offers intriguing drama (articulating the unusual nature to their growing connection) while also showcasing the unexpected comedic layer created by supporting characters (the reaction of Seo-rae’s partner which was set up by an earlier scene).

Park Chan-wook enhances the material further with his skilled direction.  The cinematography of Kim Ji-yong is the most obvious stand-out and I lost count of how many times I said to myself – “that’s such a great shot!”  The emotional climax, making great use of fading light and creative angles (loved the high shot), exemplifies Ji-yong’s impressive eye.  This is as much a visual feast as it is a romantic mystery.  The editing talents of Kim Sang-bum also deserve praise as he keeps the film moving at a fast pace with sequences which blend current day (the investigation) with the past (the crime).

Requiring your full attention for its 138-minute running time, Decision to Leave is yet another winner to emanate from South Korea.  It won best director at this year’s Cannes Film Festival and is South Korea’s official entry in the best international feature category at next year’s Academy Awards.  It’s the kind of movie you’re likely to remember long after seeing it.

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Written by Matthew Toomey

Created: 24 October 2022

As we’ve seen again and again, cinema is medium which allows us to illuminate events from the past and help ensure they remain in people’s minds for decades to come.  In addition to being a successful Hollywood actress, Maria Bello (The Cooler, A History of Violence) is a highly regarded women’s rights activist who has championed important causes around the world which a particular focus on the Caribbean country of Haiti.

Bello has also spent a significant chunk of her life in Africa and whilst visiting Benin, the nation sandwiched in between Togo and Nigeria, she learned about the Agojie.  They were an all-female army who went into battle and protected their people under the direction of the king.  The regiment began in the 17^th Century and continued for more than two centuries.  Stories about these women have been passed down through generations and Bello rightly thought they would make for a great Braveheart-style movie.

The Woman King is the end result and, despite early scepticism of studios, we now know there is an audience for this.  It opened in the #1 spot on the U.S. box-office chart and has earned more than $60 million USD over its first five weeks.  Dana Stephens (City of Angels) helped transform Bello’s story into a screenplay and Gina Prince-Bythewood (Love & Basketball) took the reigns as director.  Fitting with the subject matter, there’s a strong female presence behind the camera in terms of the cinematography, editing, casting and costume design.

The film transports us to Dahomey (the former name of Benin) in the year 1823 where its citizens are at war with the powerful Oyo Empire who are accumulating wealth by enslaving African people, putting them on boats, and selling them to European traders.  The Agojie warriors, who have all taken a vow of celibacy to fully dedicate themselves to the cause, are going through an intense training regime as they prepare to defend their city against an upcoming Oyo attack.

There’s a strong cast of supporting players but two characters are front and centre throughout.  The first is the aging General Nanisca, fiercely played by Oscar-winner Viola Davis (Fences), who leads the army with a sense of tough love.  There are times when she provides strict discipline (orders must be followed) and other times when she offers comfort and support.  Davis creates an appealing protagonist and it’s soon evident her tough disposition hides a insecurities/secrets which won’t easily go away.  Also of interest is the tactful relationship she shares with the male king (Boyega).

The second key character is Nawi, played by up-and-coming star Thuso Mbedu (The Underground Railroad), who plays the Agojie’s latest recruit.  She’s a headstrong young woman who rubs several warriors up the wrong way but, thanks to a little guidance, her naïve passion is transformed from a liability into an asset.  She will have an important role to play in defeating the villainous Oyo.

I don’t think the battle scenes are well directed (too much editing, odd camera angles) but aside, The Woman King is a strong action drama.  It’s normally tricky with this many subplots (everyone has a worthy backstory) but Stevens and Prince-Bythewood weave it all together into something coherent and engaging.  You understand what motivates the characters, you care about their fate, and your eyes are opened to a seldom publicised part of African history.

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Written by Matthew Toomey

Created: 13 October 2022

Just like Michael Myers himself, the Halloween franchise refuses to die.  It began in 1978 with a low-budget slasher film directed by John Carpenter and now here we are, 44 years later, with a thirteenth movie in the series.  The title suggests it’s the final instalment but when it comes to Hollywood, nothing can be certain when there’s money to be made.

The most recent film, Halloween Kills, was complete rubbish and so it’s great to see the four-person writing team take more chances this time around.  Maybe it really is the last movie???  The prologue introduces us to a new character – 21-year-old Corey Cunningham (Campbell) is from the infamous town of Haddonfield, Illinois but he’s gone through a life-altering tragedy unrelated to Michael Myers.  He was babysitting for a family in the neighbourhood when the child fell from the top of the staircase and was killed.

The event was an accident and several years have passed but it’s been impossible for Corey to shake its effects.  There’s the internal guilt and the lingering question about whether he could have done something differently to prevent what took place.  There’s also the uneasy looks and inferred judgement from folks in the town as Corey goes about his usual day.  You get a sense he should have left town long ago and sought a fresh start.

So… what does any of this have to do with the earlier Halloween movies?  Well, not much and that’s part of the film’s allure.  It’s a different tale driven by more realistic, common human emotions as opposed to simple blood and gore.  To link it together with the returning characters, Corey strikes up a relationship with Allyson (Matichak) and the pair spend an increasing amount of time together.  Her memoir-writing grandmother, Laurie (Curtis), is initially accepting of their connection but after a series of strange events, she starts to worry about Corey’s psychological stability.

I’m reminded of the sport of gymnastics where an athlete’s score is a combination of degree of difficulty and execution.  Using that same methodology, director David Gordon Green (who made the last two movies) gets a winning grade here because of the high difficulty level.  There are a few stumbles along the way – stiff romantic dialogue, convenient timings, unexplained supernatural gimmicks – but he’s taken enough chances in terms of tone and plot to significantly differentiate it from others in the franchise.  As we’ve seen in the United States with school shootings, this film taps into the way grief can overwhelm a small community and cast a dark, depressive shadow that lasts for years, if not decades.

Moving away from the gritty drama, Halloween Ends still offers up gruesome horror at opportune moments and while Michael Myers is relegated to supporting status, he does have a key part of play.  Also, to cornily use another gymnastics term, Green sticks the landing.  The finale is a good ‘un!

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Written by Matthew Toomey

Created: 18 October 2022

When it comes to a great horror-thriller, there are many effective ways to create scares.  At one end of the spectrum, you can go with a farcical scenario involving mythical creatures such as ghosts, demons, zombies or evil spirits.  These films tap into our apprehension of the unknown and the supernatural.  At the opposite end of the spectrum, you can go with a realistic narrative which delves into common fears and inherent suspicions of other people.  Walking down a narrow, unlit alley in a strange town on a rainy evening?  Yeah, that’ll leave most of us on edge.

Written and directed by Zach Cregger, Barbarian is a terrific horror-thriller which creatively finds a way to cover both of the aforementioned alternatives.  It opens with an event which could happen to any of us.  A woman (Campbell), travelling to Detroit for a job interview, arrives at her single-bedroom Airbnb and finds someone else (Skarsgård) already there.  It seems the owner stuffed up and the place was double booked.  Exploring options, she calls a nearby hotel but it’s fully booked given a large medical convention is taking place in the city.

So, what would you do in her shoes?  Would you be prepared to spend a single night in a homestay with a guy you know nothing about?  Would it make a difference if he slept on the couch and you were able to lock the bedroom door?  Would it make a difference if you talked to him for a bit and then formed an opinion as to his true nature?  Would it make a difference if it wasn’t the middle of the night and you had more time to explore other options?  It’s a gripping, plausible opening from Cregger who will have you closely scrutinising every word and facial expression in determining whether Bill Skarsgård is a good guy or a bad guy.

I won’t say too much more because Barbarian is a surprising, continually shifting tale that shouldn’t be spoiled.  You’ll be surprised by both the storyline and the direction.  As an example, there’s a jarring moment half-way through where Cregger turns the tension up to the highest dial before unexpectedly pressing the reset button (you’ll know it when you see it).  The heavy, sinister music score from composer Anna Drubich and the dimly lit, anxiety-building shots from cinematographer Zach Kuperstein add to the film’s impact.

Made for just $4 million USD, Barbarian has been one of this year’s success stories having spent 6 weeks inside the top 10 at the U.S. box-office with almost $40 million USD in ticket sales.  It’s not always the case but it’s nice when positive word of mouth spreads and original, deserving movies find their intended audience.  Hopefully we see the same here in Australia.