Paddington 2

GoMovieReviews Rating:

Rated: GPaddington 2

Directed by: Paul King

Produced by: David Heyman

Written by: Paul King and Simon Farnaby

‘Paddington Bear’ created by: Michael Bond

Starring: Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Julie Walters, Jim Broadbent, Peter Capaldi with Hugh Grant and Ben Whishaw as the voice of Paddington.

Sans nephew and not having seen the original Paddington (2014) – well, only bits on the cable TV that I caught watching with a patient at (my other life) work; both of us agreeing the film looking surprisingly good and Paddington The Bear textured and lovely: I wasn’t sure what to expect with Paddington 2.

But when a premier ends with applause from the audience and finding a grin on my face with added moments of laughing-out-loud, you know you’re on to a winner.

‘Stop that stunning sister!’ Yells Barry (Simon Farnaby – also co-writer!), the vice deputy security guard of St Paul’s Cathedral, as the villain-of-many-disguises, Phoenix Buchanan (Hugh Grant) escapes capture disguised as a nun.

There’s something about that British humour here that just tickles.  And Hugh Grant cast as the has-been actor (now famous for starring in dog commercials) is hilarious.

Paddington 2

Paddington 2 is the sequel to the hugely successful 2014 Paddington – a world wide hit and the most successful non-US family film of all time.

Based on the children’s books written by Michael Bond, Paddington 2 is a fitting tribute to Bond who passed away this year aged 91.

Producer David Heyman has re-united the Paddington team with Paul King at the forefront as director and co-writer – and they’ve all brought their A-game.

From the delightful costumes from designer Lindy Hemming (seriously, I spent half the movie laughing at Phoenix-the-villain’s outfits, socks pulled to knees over breeches included) to the intricacies of the set surprising and clever (production designer Gary Williamson) reminiscent of the Harry Potter movies but with the bright lights of a carnival and a jail shown like a stage set with the jungle of Peru growing through the floor boards.

And of course, Paddington – the texture of his fur making him appear so realistic.Paddington 2

Yet, the story did have glaring holes that is so incredibly un-realistic with the movie about Paddington unjustly being incarcerated for stealing a pop-up book from an antique store for 10 years: really?!

But this is a kid’s movie and when the pop-up book rises to fill the screen and to have Paddington running through the scenes of the book’s pages, any thought of unreality is overwhelmed with wonder.

And there’s some beautiful characters here – the film isn’t all about Paddington.

There’s Knuckles McGinty (Brendan Gleeson a personal favourite actor of mine), the shaggy dog, the Brown family and the neighbours living on the same street who all have their own story, used not just as a backstory for Paddington, but to also circle back into the film making each character worthwhile and needed giving that satisfying feeling of completeness while adding a layer to the themes of acceptance and finding the good in everyone you meet.

I’m still grinning replaying the moments, even if I’m not a fan of marmalade.


The Sense of an Ending

GoMovieReviews Rating:

Rated: MThe Sense of an Ending

Director: Ritesh Batra

Producers: David M Thompson and Ed Rubin

Screenplay: Nick Payne

Based on: The Sense of an Ending by Julian Barnes

Starring: Jim Broadbent, Charlotte Rampling, Harriet Walter, Michelle Dockery, Emily Mortimer, Billy Howle, Joe Alwyn

Tony Webster (the ever-reliable Jim Broadbent) leads a reclusive, quiet existence until long buried secrets from his past force him to face the imperfect recollections of his younger self, the truth about his first love and the disturbing consequences of decisions made long ago.

While not a must see film it is well-made, intriguing and mysterious, more of a slow burner than a page turner. The first part unfolded slowly and there was as much mystery as there were questions answered throughout the film. A major theme throughout is the recognition of how the memory of youth can directly influence the present.

The film provides a good mystery and exploration of the complications of human (and family) relationships. The film is set in two different time periods and it was interesting watching actors inhabit the same role as younger and older versions of the same characters.

Jim Broadbent was excellent as the curmudgeonly older version of Tony Webster, an introvert whose ex-wife Margaret (Harriet Walter) remains one of his best friends in later life.

Charlotte Rampling plays the older Veronica, Tony’s first love, and despite not being on the screen for long, she effectively conveys a sense of being her own person, a mystery that Tony was unable to resolve or understand for who she actually was.

Suggested events were hinted at but some were left unexplained, and it is tantalising wanting to know why one character had such a strong hold over Tony more than forty years later. There are also parallels between the past and the present in the situations characters found themselves in, separated by several decades.

The screenplay, adapted by Nick Payne from the novel by Julian Barnes, may cause admirers of the novel to criticise the licences taken with the original version. Director Ritesh Batra and screenplay writer Nick Payne remain faithful to the essence of the novel, but have generalised places and characters in a way better suited to a cinematic rendering.

For example, the novel relies heavily on the internalised nature of Tony’s narration in the book, which would not have translated easily to the screen unless there was excessive reliance on voice-overs and extended shots of Tony just sitting around looking introspective. Therefore, some minor characters who were just memories for Tony were fleshed out into fully formed roles in the film, so his subjective perception of other characters was counter-balanced by them having their own personalities separate from his view of them.

It also becomes obvious as the film progresses that Tony’s memory is not entirely reliable, which affects how the audience views him and his recollections. Having the other characters acting independently of him allows us to question how much of what we learn from Tony is the truth or just his version of it, which adds to the mystery.

The film was photographed and edited in a careful, slow way that will appeal to those who enjoy settling in for a slower paced unfolding that combines old mysteries with the gradual awakening of living in the present and coming to terms with what happened so long ago.