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Written by Matthew Toomey

Created: 12 June 2023

When is a “white lie” acceptable?  Does it depend on the closeness of the person you’re telling it to?  Should it matter if they’re a child or an adult?  Can you keep repeating the lie over time or does it reach a point of expiry?  All of these questions are at the heart of You Hurt My Feelings, an engaging, thought-provoking film from Oscar nominated screenwriter Nicole Holofcener (Can You Ever Forgive Me?)

Julia Louis-Dreyfus (Veep) stars as Beth, a middle-aged woman who recently published a childhood memoir which, to use the words of her own mother, “should have done better” in terms of sales.  She’s just finished the original draft of her next book, a fictional drama, which has received a lukewarm response from her editor.  The self-conscious Beth puts up a brave face but, as we see from a humorous rearranging that takes place in a bookstore, she’s a little shaken.

In an unfortunate moment that serves as the catalyst for the film’s drama, Beth spots her husband, Don (Menzies), in a clothing shop and overhears a conversation with his brother-in-law (Moayed).  He talks about not liking the draft of her new book – the complete opposite of what he’s said to her at home.  Beth is gutted by the revelation.  This is partly because Don doesn’t like the book and partly because Don hasn’t been honest with her.  She confides in her sister (Watkins) and starts taking out her frustrations on Don… without telling him exactly why.

Skilfully blending comedy and drama, You Hurt My Feelings has stuck with me.  Despite a run time of just 93 minutes, Holofcener has created a wonderful group of characters who illustrate both positive and negative traits.  There’ll be mix of views amongst audience members about how they are perceived.  You’d don’t have to like them all the time!  Holofcener provides more than enough material for us to laugh, judge, and laugh again.

As an example, Don is a demotivated therapist who has become so lethargic, he’s now forgetting patients’ histories while speaking with them.  Do we sympathise with Don because it’s a tough profession and it’s not easy to maintain one’s attention all day?  Or is he just really terrible at his job?  The same questions could be asked of Beth’s writing classes, or her sister’s “phoning it in” interior decorating skills.

Making the most of its New York City locale, You Hurt My Feelings is the winner you get when combining great actors with a great script.

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Written by Matthew Toomey

Created: 01 June 2023

Over the past two decades, the animated feature film industry has become more voluminous and more competitive.  This is great for fans of the genre but on the flip side, it’s made it harder for an animated feature to “stand out” in terms of style and narrative.  Released in late 2018, Spider-Man: Into the Spider-Verse broke away from established moulds and created something fresh.  It was rewarded by becoming the first non-Disney/Pixar movie to win the Oscar for best animated feature in eight years.

Spider-Man: Across the Spider-Verse is the much-anticipated sequel and, whether it be for cash reasons or script reasons, has been split into two parts.  The final instalment will be released in March 2024.  The “wow” factor isn’t as strong this time around (we know what to expect) and the lack of subplot closure creates a slight sense of unfulfillment but, for the most part, this is a fun, twisting, entertaining adventure that has something to offer from start to finish (although there’s no need to stay until the end of the credits – it’s just a blank screen).

The opening offers a quick refresher and reminds us that our Brooklyn-based protagonist, Miles Morales (Moore), is the new Spider-Man in his particular universe.  The 15-year-old keeps his identify hidden and stops bad guys at any opportunity.  We also learned that different heroic “spider people” exist in other universes and that it’s possible to travel between these worlds.

I don’t want to give too much away about Across the Spider-Verse but suffice to say it takes those ideas to a higher level.  There are Spider-Horses, Spider-Cats, and Spider-Dinosaurs.  That may sound quite goofy (and I guess it kind of is) but there’s a deeper story at play about fate and destiny.  As we’ve seen explored in time travel flicks, can we change the path we’re on?  Or are there predetermined “canon events” which are beyond our control?

Miles remains a key player but this is Gwen Stacy’s (Steinfeld) film.  She’s more than just a love interest (although I liked the romantic connection) and her complex character is given the important task of opening and closing the movie.  The three-member screenwriting team also deserve praise for adding “greyness” to the point where the heroes and villains are not easily defined.

There are times when it all feels too hectic.  It’s hard to stay “in the moment” when being served up a torrent of fast-paced conversations, information boxes, split screens visuals, outlandish action, and just about every colour which has ever existed.  You also need to watch the movie in slow motion to fully absorb!  Thankfully, there are fleeting scenes where the characters get a chance to sit down, breathe, and have a heartfelt chat (like a moment atop the Williamsburg Bank Building).

Spider-Man: Across the Spider-Verse is a winner and is likely to be a big hit.

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Written by Matthew Toomey

Created: 07 June 2023

Over the past 15 years, French director Mia Hansen-Løve has crafted an impressive, award-winning batch of films which highlight both the simplicity and complexity of the human condition.  She creates real, interesting characters and then puts them in tricky situations that audiences can relate and empathise with.  My two favourites are Father of My Children (2009), a drama about a middle-aged guy deep in debt trying to save his company, and Goodbye First Love (2011), the tale of two teenagers experiencing love for the first time.

One Fine Morning is Hansen-Løve’s latest and is centred on a widowed mother, Sandra (Seydoux), coming to grips with two major events in her life.  The first the declining health of her father, Georg (Greggory), who has reached the point where he needs round-the-clock care in a nursing home.  Involved in discussions with her mother (Garcia), Sandra has trouble finding a suitable, affordable aged facility that his worthy of her father’s final years.

The second happening involves romance.  Sandra becomes involved with Clément (Poupaud), an old friend grappling with a waning marriage.  The pair relish the time they spend together but, as things become more serious, Clément starts to have second thoughts.  He has a son of his own and he’s worried about the impact on that relationship if he were to split permanently from his current wife.

One Fine Morning is a nicely told yarn filled with reflective moments.  There’s a particularly powerful scene where Georg has moved into a nursing home and Sandra must decide what to do with all the belongings from his long-time apartment.  Her academic father had assembled a notable collection of books across his renowned career.  Is it appropriate to just throw them out?  The question taps into our connection with objects and the sentimental value they can hold.

In the lead role, Léa Seydoux (Blue is the Warmest Colour) encapsulates her character’s emotions with subtlety and precision.  She doesn’t need to verbalise every thought.  You know what she’s thinking and feeling.  Pascal Greggory is also great as the aging father who seldom complains (even if he wants to) so as not to be a burden on those around him.  It’s as if he’s a victim of his own politeness!

Released in Australia more that a year after it’s world premiere at the 2022 Cannes Film Festival, One Fine Morning is another winner on Mia Hansen-Løve’s resume.

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Written by Matthew Toomey

Created: 29 May 2023

Fifteen years ago, Dave Fishwick was a self-made millionaire who had become the biggest minibus salesman in Great Britain.  Then, the Global Financial Crisis came along.  Dave’s business was fine but his customers, despite having never missed repayments previously, were struggling to get finance for new loans because banks had changed their thresholds.  So, Dave did what anyone else would do (note: sarcasm) – he started his own bank!

Burnley Savings and Loans was established in 2011 as a not-for-profit lending company to largely serve small investors and borrowers in the county of Lancashire.  It’s no threat to the major UK banks but with its catchy “Bank on Dave!” slogan, it’s challenged the negative mindset many have of financial institutions.  The company is big on “old fashioned local banking” with a focus on customer service and charity (instead of just the bottom line).

Directed by Chris Foggin (Fiserhman’s Friends), Bank of Dave is a comedic, big-hearted tale which is looooooosely based on the above events.  The protagonist’s name is appropriate because it’s framed as a David v. Goliath battle where Dave (Kinnear) teams up with a naïve city lawyer (who didn’t exist in the real story) to take on the big, nasty banks who wanted him stopped.  The film also boasts a Def Leppard cameo but again, their fundraising role in the movie is not a reflection of reality.

I wish this film wasn’t so simple and clichéd.  The good guys are very good, the bad guys are very bad, stuff about the banking system is overexplained, and there’s a tokenistic romance to try to broaden its appeal.  The dialogue is rubbish in places and would be better suited to a cheesy, American soapie.  Sometimes you can try too hard in developing a feel-good narrative and it’s a trap writer Piers Ashworth (St Trinian’s) appears to have fallen into here.

Bank of Dave will still have its supporters depending on what you’re in the mood to swallow.  Rory Kinnear (The Imitation Game) is the pick of the cast and, despite playing a successful millionaire, does a nice job creating a likeable guy worth cheering for as he takes on the villainous “establishment”.  Enjoy this movie for what it is and then do some extra reading to help separate the facts from the fiction.

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Written by Matthew Toomey

Created: 06 June 2023

Based on the fictional 2012 novel authored by Rachel Joyce (who also developed the film’s screenplay), The Unlikely Pilgrimage of Harold Fry is the story of an elderly man who goes for a walk… and then keeps walking.  His name is Harold (Broadbent) and when his wife (Wilton) asks “Will you be long?”, he simply says “I’m only going to the post box.”

Harold’s response was accurate at the time.  His intention was to mail a letter (he’s not up with technology) to Queenie (Bassett), an old work colleague dying of cancer and living in a hospice in Northern England.  It’s while talking to a stranger at a gas station that he comes up with the inspired/insane idea to walk roughly 500 miles from his home in Kingsbridge to the hospice in Berwick-upon-Tweed.  His odd rationale is that he hopes it’ll serve as motivation for Queenie to keep fighting and keep living.

It doesn’t make a lot of sense.  You think Harold could have at least bought himself more comfortable clothes (he’s walking around in a long sleeve shirt, cardigan, and tie) and better fitting shoes (he’s got blisters from day one).  There are also peculiar scenes where he’s channelling Christopher McCandless (depicted in 2007’s Into the Wild) and living completely “off the land” with no money and shelter.  He’s as much delusional and he is motivational.

All of that said, the film’s big heart overrides its shortcomings.  Harold interacts with an assortment of warm, comforting people across his two-month journey and, while some the conversations are a little strange (one in a diner stands out), they remind us about the importance of human connection and being open with each other.  These chats, along with the time spent walking alone, help Harold reflect on past mistakes (the flashbacks are a little clunky) and value the many positives in his life today.

74-year-old Oscar winner Jim Broadbent (Iris) is wonderfully likeable in the lead role and so too is Penelope Wilton (Downton Abbey) as the doubting wife struggling to reconcile her husband’s actions.  There’s no villain in this tale.  It’s a film which highlights the best of humanity and in doing so, should leave a smile on audiences’ faces.  A simple but effective feel-good yarn!