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Written by Matthew Toomey

Created: 21 June 2019

Richard Curtis has some wonderful credits to his name including Four Weddings and a Funeral, Notting Hill and Bridget Jones’s Diary (I deliberately haven’t mentioned Love Actually).  He didn’t come up with the original idea for Yesterday (credit there goes to Jack Barth) but Curtis was quick to join the project and write a screenplay given his lifelong love for The Beatles.  He can even remember being a 6-year-old who waited outside a hotel trying to get a glimpse of John, Paul, Ringo and George when they toured Sweden in 1963.

Brought to the screen by Oscar winning director Danny Boyle (Slumdog Millionaire), Yesterday features a cool premise.  Some kind of weird cosmic event causes every electric device around the world to be switched off for roughly 12 seconds.  It’s caused a rift in the space-time continuum and we now have a world where practically everything is the same… except The Beatles were never formed and hence, they never produced the unforgettable music that transformed the 1960s.

There’s a catch.  For whatever reason, Jack Malik (Patel) is the only person on Earth who can remember The Beatles.  He’s wanted to be a singer-songwriter since high school but despite his passion, he’s struggled to write catchy lyrics and is yet to catch his big break.  That’s about to change though.  Jack can take The Beatles’ iconic songs (or at least those he can remember), pass them off as his own and become an international music star.

All films have production challenges but in the case of Yesterday, one of the trickier tasks was to secure access to The Beatles music.  The rights are currently held by Apple Corps (performance rights) and Sony ATV (cover rights) with both entities being very protective about their product.  After lengthy negotiations, Boyle and the producers were able to secure a deal that took up “a substantive part of the film’s budget” but allowed them to play 17 different Beatles songs throughout the movie.  The closing credits include a rare original master recording for “Hey Jude”.

While I’m sure it will appeal to Beatles fans, Curtis has erred in structuring the story as a formulaic rom-com.  Ellie (James) has served as Jack’s manager for more than a decade and has followed him to every event like a love-sick puppy dog.  The character makes no sense.  It’s depressing that one woman would invest so much emotional energy over such a long period into a man who refuses to reciprocate and has zero music talent (at least based on the crowds turning up to his shows pre-fame).  The up-and-down nature of their relationship across the film’s two hour running time also feels fake and forced.

If you think that’s illogical, wait until you see the ending.  The film sells uplifting messages about life, music and happiness (e.g. two unique fans, a meeting at a beachside home) but then becomes unnecessarily moralistic during a key scene where Jack performs on stage following an Ed Sheeran concert.  Why would he make the decision to say that and why would the audience understand and react accordingly?

It’s a shame the film doesn’t work because there are positives.  Newcomer Himesh Patel is likeable in the lead role, Kate McKinnon earns laughs as a tell-it-like-it-is manager, and Ed Sheehan isn’t afraid to mock his own talent in playing himself.  The movie also boasts a few nice surprises (e.g. the fate of a fizzy drink) which take advantage of the time-changing narrative and add humour.

Failing to take advantage of its fun concept, Yesterday is a stale, unrealistic romantic comedy.

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Written by Matthew Toomey

Created: 12 June 2019

The first three films in the Men in Black series (which began back in 1997) saw Will Smith team up with Tommy Lee Jones as secret agents charged with the responsibility of monitoring the many alien lifeforms that covertly reside on Earth.  The producers felt that the Smith and Jones storylines were “emotionally complete” and so to keep the franchise alive, they’ve gone with a quasi-reboot for Men in Black: International.

London is now the main setting and two new characters have been created.  Australian Chris Hemsworth (Thor) is Agent H, a renowned, playful individual who is credited with “saving the world” on his most famous assignment.  American Tessa Thompson (Creed) is Agent M, a fresh recruit who has spent almost 20 years preparing for this dream job and now gets the chance to prove herself.

Directed by F. Gary Gray (Straight Outta Compton), Men in Black: International is a disappointing action-comedy.  In trying to act overly cool and funny, these heroes come off as fake and boring.  They’re rarely put under any pressure and they stumble from scene-to-scene as if they know exactly what’s around the corner.  They try to add depth to Agent M’s character by introducing her as a tormented soul (she’s never had pets or been in a relationship) but all of that seems forgotten when she joins the Men in Black organisation.

Similar criticisms can be levelled at the film’s villains who have weak, unexciting motives.  There’s a cliched, power-hungry alien played by Rebecca Ferguson (The Greatest Showman) looking to get her hands on the world’s most potent weapon.  Also in the mix are two shape-shifting creatures, played by the Les Twins, who keep popping up in the right places but never feel threatening given their incompetence.

The one bright spark comes from an actor we don’t get to see.  Kumail Nanjiani (The Big Sick) plays the voice of a funny alien dubbed “Pawny” who is small in stature but big on personality.  He doesn’t have a huge role to play but his insecure, self-deprecating nature earns laughs.  It’s a shame he didn’t get more screen time.

It’s only mid-June but Men in Black: International marks the 15^th sequel, reboot or remake to be released in Australian cinemas.  Some have underperformed at the box-office (e.g. X-Men: Dark Phoenix, Godzilla II: King of the Monsters) and so it’ll be interesting to see if this one can lure in its previous fans.  I have my doubts.

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Written by Matthew Toomey

Created: 17 June 2019

There are few movie studios (if any) who could boast of four consecutive films in a franchise that have been as good as those offered by Disney and Pixar with Toy Story.  They’ve had different directors, different producers and different writers but somehow, the ingredients have come together perfectly each time to create funny, intelligent, sentimental movies that appeal to audiences of all ages.

Released back in 2010, Toy Story 3 culminated with the adult Andy handing over his beloved toys to a new childhood owner, Bonnie, before heading off to college.  It was a sweet, feel-good finale that confirmed these chatty toys weren’t destined scrap heap and could entertain someone else… for a few more years at least.

Toy Story 4 wastes no time in tugging at the heartstrings.  Bonnie is on the verge of starting kindergarten and her taste in toys has evolved.  She’s looking for a female to rule over them and so she’s stripped Woody (Hanks) of his sheriff’s title and pinned his coveted badge on cowgirl Jessie (Cusack).  Bonnie still regularly plays with her toys on her bedroom floor but poor Woody has been relegated to the darkened closet.

There’s no point getting too sad because a resilient Woody is quick to prove himself.  He sneaks into Bonnie’s backpack (it comes complete with a see through window) and keeps a close eye during her nervous first day at kindergarten.  It’s during “craft time” that a lonely Bonnie, in search of a friend, decides to literally make one.  She takes a plastic spork from the rubbish bin and then uses popsicle sticks, pipe cleaner, googly eyes and playdough to provide its face and limbs.

“Forky” (voiced by Tony Hale) quickly comes to life but it’s clear he has psychological issues.  He knows he’s trash physically but he also thinks he’s trash metaphorically!  Rather than interact with the other toys and serve as Bonnie’s valued companion, Forky just wants to hide alone in rubbish bins where it’s “safe and cosy”.  It falls upon the experienced Woody to talk sense into Forky and help build his self-confidence.

There’s much more to this deep, multi-layered story but rather than give it all away, you’re best to see the film for yourself.  A campervan, a struggling antique store and a packed amusement park serve as the setting for the adventures that follow.  A few old favourites don’t get much screen time (e.g. Rex, Mr Potato Head) but that’s necessary to make room for the horde of fun new characters with a voice list including Keegan-Michael Key, Jordan Peele, Christina Hendricks and Keanu Reeves.

I’ve always found it ironic that the toys in this series have more emotional authenticity than human characters in many live action movies.  Writers Stephany Folsom and Andrew Stanton have crafted a terrific script filled with great dialogue and laced with exquisite metaphors.  It has a lot to say about the value of companionship, the way we change over time, and the importance of helping those in need.  A subplot involving the reintroduced Bo Peep (Potts) and her quest for independence also carries weight.

For this 4^th instalment, the directorial reins have been handed to first-time feature director John Cooley who began his career at Pixar in 2003 as a 23-year-old intern working in the Story Department.  He’s clearly soaked up all the learnings from the past 15 years as this is well-polished production.  The cinematography stands out (feels weird to be saying that about an animated movie) and Oscar winning composer Randy Newman is back with another satisfying music score.

If you’re looking for a reason to smile, Toy Story 4 will provide.

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Written by Matthew Toomey

Created: 09 June 2019

We’ve already had several interesting biopics released this year about a variety of subjects including British royalty (Mary Queen of Scots), dodgy politicians (The Front Runner), Supreme Court justices (On the Basis of Sex), Dutch painters (At Eternity’s Gate) and troubled musicians (Rocketman).  We now turn our attention to an acclaimed author.  Born in South Africa and raised in England, J. R. R. Tolkien is regarded by many as one of the great writers of the 20^th Century.

It was across the 1930s and 40s that Tolkien wrote his most famous works, The Hobbit and The Lord of the Rings.  Rather than delve into that period of his life, screenwriters Stephen Beresford (Pride) and David Gleeson (Cowboys & Angels) take us back to the early 1900s and focus on his schooling years.  He attended the King Edward’s School in Birmingham before going on to study classics, English language and literature at The University of Oxford.

If you’ve read The Lord of the Rings, you’ll know that one of its strong themes is friendship.  In the first book, nine individuals from Middle-earth formed a “fellowship” with the singular goal of destroying the One Ring before it fell into the hands of the evil Sauron.  That same theme is highlighted in Tolkien… well, except without the ring which could destroy the world.

It was at high school that Tolkien met three fellow students who would become his best buddies – Geoffrey Bache Smith, Robert Q. Gibson and Christopher Wiseman.  They were an eclectic, knowledgeable bunch who shared a love for good conversation, literature and tea.  The interaction between these four characters is the soul of the movie.  Tolkien is a beautiful told tale that shows the value of strong, supportive friends and how they can shape our lives, our decisions and our personalities.

It’s unfair to single out one performance (they’re all terrific) but it’s great to see 25-year-old Anthony Boyle in his first major feature film role.  I had the chance to see Boyle’s Tony Award nominated performance (as Scorpius Malfoy) in Harry Potter and the Cursed Child when visiting New York City last July.  He’s a talented, versatile actor from Northern Ireland who seems destined for a long career.  The part comedic, part heartfelt banter he shares with star Nicholas Hoult (The Favourite) is another of the film’s worthy attributes.

The other key layer to Tolkien involves the writer’s romantic relationship with Edith Bratt (Collins), a young woman he first met at a boarding house in Birmingham.  It’s hard to depict an artist’s inner psyche on screen but Finnish director Dome Karukoski (Tom of Finland) skilly illustrates Tolkien’s fast-thinking, creative mindset during a fun sequence where he and Bratt bounce ideas off each other in a fancy restaurant.

The intermittent wartime scenes are clumsy and protracted but for the most part, Tolkien is an engaging drama.  The reflective film score from composer Thomas Newman (The Shawshank Redemption) adds to its impact.

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Written by Matthew Toomey

Created: 13 June 2019

More than 200 films were released in Australian cinemas in 2007 and my favourite was The Lives of Others.  It was a riveting drama set in the 1980s that looked at the role of the Stasi, a police organisation that, through its huge army of secret informants, suppressed dissent against the East German communist government.  It’s a fascinating period of history that is seldom covered on screen (at least when compared against the abundance of German movies set during World War II).

The Lives of Others won director Florian Henckel von Donnersmarck the Academy Award for best foreign language film (beating Pan’s Labyrinth in an upset) but in the decade to follow, he’s curiously made just one film.  The Tourist, a 2010 English language thriller starring Johnny Depp and Angelina Jolie, was a modest success at the box-office but was savaged by most critics (myself included).

In what is his first movie for eight years, Donnersmarck has returned to Germany and delved into another intriguing chapter in his country’s history.  Never Look Away tells the tale of Kurt Barnert (Schilling), a young painter who grew up in a Nazi-ruled Germany and now, following the cessation of World War II, is trying to find his artistic voice.

The story is “inspired” by the life of Gerhard Richter, a renowned painter born and raised in Dresden.  That has created a point of controversy.  The real-life Richter, now 87 years of age, didn’t agree to a biopic and while he shared information with Donnersmarck, he’d done so under the impression that the movie would be heavily fictionalised.  It’s created a humorous, topsy-turvy scenario where someone is unhappy that a movie too closely resembles their life!  Such criticisms are normally the other way around.

The film has a lot to say about art and its value.  Kurt finds himself in a repressed Germany (post World War II) where social realism is pushed heavily by its leaders.  Despite his dislike for the art form, he reluctantly accepts a job painting giant pro-government propaganda murals as a source of income.  He hasn’t given up on his dreams though.  Cinematographer Caleb Deschanel (The Natural) captures some striking moments where Kurt experiments on new art forms in the privacy of his own art studio.

There’s a secondary storyline that may sound far-fetched but it too is based on actual events.  Kurt falls in love with Ellie (Beer), a fashion design student he meets at art school.  Both are unaware of the fact that Ellie’s father, Carl (Koch), was a cold-blooded Nazi doctor who euthanized Germans with disabilities, including Kurt’s aunt, during World War II.  Carl now keeps a low profile but the authorities are closing in on him and others involved.

Never Look Away picked up Oscar nominations earlier this year for best foreign language film and best cinematography (losing both awards to Roma).  If you’re attracted to the era, you’ll be impressed with the mix of visual effects, constructed sets, and actual locations that have been used to recreate Germany in the 1940s and 50s.  The also deserves praise for its performances and the subtle film score provided by German composer Max Richter. 

A few may balk at the lengthy 188 minute running time but Never Look Away is an absorbing drama that looks at the interaction between art and society.

You can read my interview with writer-director Florian Henckel von Donnersmarck by clicking here.