OPPENHEIMER Review

Given Christopher Nolan accomplishes as much in-camera as possible there is very little left to the imagination in Oppenheimer. From the bomb to the billions of stars and even boobs, Nolan gives us everything that made J. Robert Oppenheimer (the J apparently stands for nothing) tick. Was he a neurotic loner who was also a womanizer? A cold-hearted physicist as well as a bleeding-heart liberal? That seems to be the case and maybe the best case for why Nolan’s historical biopic about the “father of the atomic bomb” is so successful: it seamlessly integrates these contradictions into the narrative surrounding the moment that set the course of humanity on a different trajectory. Nolan's trademarks are well-suited to the story of a(nother) tortured genius who faces the greatest moral dilemma - possibly in history - and must come to terms with both his ambition, understanding his actions, and eventually wrangling with his legacy as he sees it being maligned and he himself being exiled by those with real power. 

Though technically a biopic, Oppenheimer doesn't necessarily carry a weight of obligation to feel like a fully formed portrait of the titular man, but rather Nolan's focus and more importantly his technique add more thematic and worldly weight to the proceedings rather than simply amounting to a highlight reel of Oppenheimer's most notable moments. This is also a more roundabout way of saying Nolan moves through much of his subject's life at a breakneck speed, especially in the beginning as Oppenheimer goes from student to well-renowned physicist in a handful of scenes, with very little handholding, while still elegantly establishing what inspires, drives, and irritates his main character propelling us into the second - most electric - hour of the film.

TENET Review

“Don’t try to understand it, feel it.” This is a direct quote from Clémence Poésy’s character in writer/director Christopher Nolan’s TENET which derives its name from the Sator Square (or Rotas Square) containing a five-word Latin palindrome. The text on this square may be read top-to-bottom, bottom-to-top, left-to-right, or right-to-left; it may also be rotated 180 degrees and is still able to be read in all those ways. In the simplest of terms, this is kind of all you need to know in order to understand what Nolan is going for in his latest if not necessarily grasping how he’s meaning to achieve it. “Broad terms” is a key phrase for an initial viewing of TENET as in: it’s best to try and understand everything in broad terms. If one tries to focus too heavily on the intricacies (or the exposition, as you may have heard) it’s without doubt that one will also become overwhelmed by the complexities Nolan and his screenplay are compacting into a narrative that is not only here to serve a story or an idea, but the filmmaker that is Mr. Nolan himself. Is the film complicated? Undoubtedly, but does it make sense in those broad terms to the extent there is something for audiences to take away from the experience? Certainly. As stated, this is Nolan functioning at his most Nolan-est. John David Washington (star of BlackKklansman, son of Denzel) is our literal protagonist here (seriously, that’s the character name he’s given), but the real star of TENET is Nolan himself. The director has explored time through multiple facets throughout his filmography whether it be backwards in Memento, the extended experiences of our dreams that might amount to only a few minutes of actual sleep in Inception, the relativity and dilation of time when travelling through the stars in Interstellar as well as in the ticking clock of war in Dunkirk. Nolan has always used this element as a point of view though, as a way to better understand what his characters are going through; what the individual experience of whatever story Nolan is telling might have actually felt like. TENET is a different beast. Whereas time has always been more a factor of the plot (maybe even the antagonist, I see you Interstellar) it has never become the purpose, the cog on which the entirety of the point of the story turns. TENET is both a spy film that ultimately culminates in our hero saving the girl and the world from a bad, bad man while also being a film steeped in the fantastical idea that someone has engineered a product that allows human beings to pass both forward and backward in time. Like I said, broad terms. What’s unfortunate is that while Nolan is spinning his impressive wheels at the highest of levels and combining his strong visual and atmospheric prowess with that of truly inventive and innovative ideas (per usual) he is still unable to make us care about the people parading through these locations and ideas. In short, Poésy’s character was onto something when she said, “Feel, don’t think,” as a lack of understanding regarding the world of TENET might more easily be forgiven if there were anything to feel for any of these individuals, but Nolan’s script is so intent on generating questions over care that it’s difficult to consider much reflection once the astonishment wears off. 

Teaser Trailer for Christopher Nolan's TENET

Warner Bros. has released the first trailer for writer/director Christopher Nolan's follow-up to Dunkirk, Tenet, starring John David Washington of BlacKkKlansman (and Denzel's son) in the lead. This teaser, which feels more like an official trailer, shows off what has been described as a “massive action blockbuster” that will cross multiple genres. While not much can be derived from the footage contained here in terms of plotting it would seem Nolan is very much working in the same tone and world as Inception given the covert style mission Washington's character seemingly is involved in. While no plot synopsis even exists yet for the film the official logline released by the studio reads as, "an action epic revolving around international espionage, time travel, and evolution." Everything sounds pretty in line until you get to those last couple of words and you realize there's no stopping Nolan from going as far as he wishes; be it time travel or dealing with...evolution? Nolan undoubtedly has some interesting things to say on these topics and with his endless amount of tools and given the imagery and set-up shown in this teaser, he seems to also have an interesting way of discussing them. What really stands out here is how the film might be playing with time and people's perception of things depending on times construction in the same way Inception played with people's perception of reality and how the lines sometimes blur between what really happened and what was part of an imagined memory that came to you in the night. Per usual, Nolan has stacked his cast with renowned and pedigreed actors with the likes of Robert Pattinson (High Life, The Lighthouse) and Elizabeth Debicki (Widows) serving as strong supporting players here along with Dimple Kapadia (Bobby), Aaron Taylor-Johnson (Kick-Ass), Clémence Poésy (In Bruges), Kenneth Branagh (Dunkirk) and of course...Michael Caine, all co-starring. For all you film nerds and behind the scenes geeks Nolan is also credited as the sole screenwriter on the project and shot the film using a combination of 70MM and IMAX cameras as he re-teamed with Interstellar and Dunkirk cinematographer Hoyte van Hoytema (who also delivered one of the most visually arresting films of this year in Ad Astra-see it!). Needless to say, this is one of my most anticipated films of next year. Tenet hits theaters on July 17, 2020.

MURDER ON THE ORIENT EXPRESS Review

You know those times when you think something is unnecessary, let's say for the sake of this format it's a movie, and yet despite those initial hesitations and questions of purpose you come to realize that it's not a complete waste of time, but rather that you actually like certain aspects of this fresh perspective it once seemed was uncalled for. I have never before read the 1934 Agatha Christie novel, Murder on the Orient Express, nor had I seen what is probably the most famous adaptation of this work in Sidney Lumet's 1974 film that starred Albert Finney as one of Christie's most famous and long-lived characters, Detective Hercule Poirot. That was, until earlier this week when I decided to catch-up with what was no doubt much of the reason 20th Century Fox decided it was indeed necessary to bring Christie's work back to the big screen with no lack of prestige in either its talent or production. In doing so, it became clear how much that '74 film serves as a perfect blueprint for the murder mystery venture and while I certainly doubt it was the first film of its kind it certainly is a fine example of how to make this type of movie in an effective, fun, and engaging manner. So, what does Sir Kenneth Branagh do when he gets his hands on such rich material and the opportunity to play as famous a character as Poirot? Well, not much really. Branagh keeps to the guidelines of the genre for the most part while the changes in characters and character arcs in this latest adaptation feel more like attempts to differentiate this version from Lumet's more than they do organic changes that came out of adapting Christie's story for a more modern audience. Sure, there are changes made to certain character's ethnicities and the color of certain character's skin, but beyond these factors serving to be acknowledged as they might have been in the context of 1934 there is no reason to have changed anything about the character other than for the sake of variety and equality, which is never a bad thing, of course, but the hope was that whatever changes Branagh and screenwriter Michael Green (Logan, Blade Runner 2049) made for this latest adaptation they might have been done to either improve upon the story or offer some facet previously unexplored. And yet, this version of Murder on the Orient Express is a safe if not efficient take in the mystery genre that relies on star power for character development and handsomely mounted production values to fill in for substance leaving the experience of Branagh's latest to be perfectly serviceable if not exactly fulfilling.

DUNKIRK Review

Dunkirk is a horror movie. Make no mistake about it. You never see the villains. There is no physical trace of the German military anywhere in the film until one of the final frames. And yet, the presence of these antagonists looms over every scene. It is so inescapable in fact it is nearly suffocating. There is, in essence, no relief from the situation at hand and much like a horror movie more steeped in that genre's conventions you know only one thing is certain: bad things will happen and people will die. That doesn't mean one can look past the horror by not getting as accustomed with the characters, the people, experiencing these situations though, but rather Christopher Nolan has slyly and only crafted his characters to the extent that one largely puts themselves in the shoes of these individuals. As with any good scary movie there is an allure to the uncertainty that could not necessarily be labeled as enjoyable, but is engaging nonetheless and that essentially describes the emotions one will likely feel throughout the entirety of Dunkirk. From the opening, breathtaking scene in which one of our young protagonists flees the gunfire of unseen enemy forces to moments in which civilians on their personal boats navigate the rough seas as they cross the channel in hopes of nothing more than saving a few lives-Nolan ratchets up the tension and holds it as tight as he possibly can for an hour and forty-five minutes. Unlike most Nolan pictures, there is a brevity to Dunkirk that is key in sustaining the tension and keeping it at as intense a level as possible throughout, but like most Nolan films this is still very much an experience more than it is just another trip to the theater; it is immersive in a way that is difficult to put into words necessarily, but Dunkirk was always going to be something different as it sees one of the greatest filmmakers of our current generation crafting his version of a World War II film and to that extent this is a lean and intense piece of filmmaking that is rather exceptional. Lifting from the horror genre in terms of approach is only the beginning of what makes Dunkirk haunting, but much of what has to do with the accomplishment the film turns out to be is the way in which each of the elements Nolan uses to craft his movie congeal in such a natural way. Whether it be the structure that is used to differentiate between the timing and perspective of the tales from the air, land, and sea or the pounding score from longtime Nolan collaborator Hans Zimmer that more or less makes up for dialogue in the film to the face of Kenneth Branagh in general. Dunkirk is a work in which it would seem there was nothing easy about creating what we see on the big screen, but that comes together in such an effortless fashion it feels as if there was no other way in which the movie might have ultimately turned out. In short, it's a reality where it seems the filmmaker's ambition has genuinely been met.

First Trailer for MURDER ON THE ORIENT EXPRESS

I must admit, I’ve never seen Sidney Lumet’s 1974 adaptation of Agatha Christie’s novel starring Albert Finney, Lauren Bacall, Ingrid Bergman, Sean Connery, and Jacqueline Bisset, but I am rather interested in correcting that-especially now that we have seen a glimpse of what Kenneth Branagh’s re-make or re-imagining is going to look like. The cast is certainly just as impressive and make no mistake, this first trailer for the film is very much a teaser despite its two minute runtime. Much of the teaser’s time is dedicated to showing the cadre of big names that do indeed star in the film while the remainder is black screens and neon blue text that looks awfully similar to Bates Motel. Maybe Branagh, or rather 20th Century Fox’s marketing department, thought it wise to hue closely to a similar murder/mystery tone of a rather popular and more recent TV show, but all the mystery and implied deviousness is quickly undone as soon as Branagh introduces himself in the role of Hercule Poirot with what I can only assume is an Imagine Dragons song blasting the background. It is shockingly jarring in how much is shifts what it seemed the intended tone was to something of a comic nature. While it’s always nice to have a balanced sense of humor I don’t think Branagh and the gang were going for the kind of mood this trailer leaves us with. It’s an odd choice, but hopefully (and likely) has no bearing on the actual final product we’ll see this winter. Strange music choice aside, this is still a hell of a cast and though we only get a line of dialogue or so from each of them here I can’t wait to see how they play off of one another and if Branagh can pull of something that is both new and inventive while respecting previous incarnations that are obviously well-regarded. Branagh stars in and directs while Murder on the Orient Express also features Johnny Depp, Michelle Pfeiffer, Penélope Cruz, Daisy Ridley, Josh Gad, Willem Dafoe, Judi Dench, Tom Bateman, Leslie Odom Jr., Lucy Boynton, Olivia Colman, Derek Jacobi, and opens November 10th, 2017.

Official Trailer for Christopher Nolan's DUNKIRK

The final, official trailer for the latest epic from director Christopher Nolan (The Dark Knight Trilogy, Inception, Interstellar) has arrived and it looks rather glorious. This is easily my most anticipated film of the summer. Dunkirk was shot completely on IMAX 65mm film and 65mm large-format photography with Nolan and Interstellar cinematographer Hoyte van Hoytema reuniting once more for what will hopefully be a World War II film for the ages. While my concern with Dunkirk comes more out of the fact the market for WWII film is rather saturated these days than any worry with Nolan or the story he wants to tell there is a certain familiarity with these types of images that no longer allow them to feel as fresh no matter what scope one is shooting on. That said, the imagery we get here in this extended trailer only reinforces the beauty the filmmakers have found in this tragic event. The story concerns the real-life events of the evacuation of Dunkirk, known as Operation Dynamo, during the British military operation that saved 330,000 lives as Allied soldiers were surrounded by German forces. Nolan wrote the screenplay himself without usual collaborator, brother Jonathan, but the picture will reunite the director with longtime collaborator/composer Hans Zimmer. We already seem to know there is no one particular protagonist, but rather that Nolan's film will consist of several different perspectives on similar scenarios that will only stand to increase the tension within each of these situations. Granted, I'll see anything Nolan decides to put his time and effort into so all of this may not exactly be saying much, but nonetheless the idea we're getting a WWII film from the perspective of one of our great modern filmmakers is nothing to be dismissed. Dunkirk stars Tom Hardy, Kenneth Branagh, Mark Rylance, Cillian Murphy, Aneurin Barnard, James D’Arcy, Jack Lowden, Barry Keoghan, Tom Glynn-Carney, Harry Styles, and opens on July 21, 2017.

Full Trailer for Christopher Nolan's DUNKIRK

Getting in just before the cutoff for Rogue One's wide theatrical debut tomorrow night we now have a new look at the latest epic from director Christopher Nolan (The Dark Knight Trilogy, Inception, Interstellar). Shot completely on IMAX 65mm film and 65mm large-format photography Nolan and Interstellar cinematographer Hoyte van Hoytema are clearly intent on creating a World War II film for the ages. While my concern with Dunkirk comes more out of the fact the market for WWII film is rather saturated these days than any worry with Nolan or the story he wants to tell there is a certain familiarity with these types of images that no longer allow them to feel as fresh no matter what scope one is shooting on. That said, what we're given in this first trailer is undoubtedly beautiful. The story concerns the real-life events of the evacuation of Dunkirk, known as Operation Dynamo, during the British military operation that saved 330,000 lives as Allied soldiers were surrounded by German forces. Nolan wrote the screenplay himself without usual collaborator, brother Jonathan, but the picture will reunite the director with longtime collaborator/composer Hans Zimmer. Another interesting caveat drawn from what this new trailer delivers is the fact there is no real hint of who the hero of this story is or if there is one in particular protagonist at all. Rather, the clip is more a collection of shots that feature more than a few recognizable faces, but none of which seem to necessarily be taking charge of the narrative Nolan might be telling. We may learn more about its story if we get a final trailer in a few months, but for now this is more than enough to intrigue this viewer. Of course, I'll see anything Nolan decides to put his time and effort into so that may not exactly be saying much, but nonetheless the idea we're getting a WWII film from the perspective of one of our great modern filmmakers is nothing to be dismissed. Dunkirk stars Tom Hardy, Kenneth Branagh, Mark Rylance, Cillian Murphy, Aneurin Barnard, James D’Arcy, Jack Lowden, Barry Keoghan, Tom Glynn-Carney, Harry Styles, and opens on July 21, 2017. 

Teaser Trailer for Christopher Nolan's DUNKIRK

If you weren't aware, director Christopher Nolan is making a World War II film that comes out next summer and Warner Bros. is letting those who haven't been up to date and anxious about what the auteur might do next know by dropping an announcement trailer of sorts before their big-budget action hero epic, Suicide Squad, this weekend. I can remember the first trailer for Inception debuting and being blown away not by the visuals or concept the movie seemed to possesses, but rather by the fact we were already getting another Chris Nolan film only two years after having delivered the greatest comic book movie known to man. With his latest, the studio seems to be following more the pattern they did with the Interstellar campaign as we only get a few brief glimpses of footage here intercut with text informing audiences this is indeed a new Nolan film and if you're really out of the loop, what Nolan has made prior. All of that said, there isn't much to say about the teaser other than the fact the footage itself looks visually stunning (Nolan re-teamed with Interstellar cinematographer Hoyt van Hoytema), but there is no mention of actors and no insight into the story. All we know is that the film will focus on the evacuation of Dunkirk, known as Operation Dynamo, during the British military operation that saved 330,000 lives as Allied soldiers were surrounded by German forces. Nolan wrote the screenplay himself without usual collaborator, brother Jonathan, but the picture will reunite the director with longtime Nolan composer Hans Zimmer. Nolan also decided to shoot the whole of his tenth feature on IMAX using a combination of IMAX 65mm and 65mm large format film. Dunkirk stars Tom Hardy, Kenneth Branagh, Mark Rylance, Cillian Murphy, Aneurin Barnard, James D’Arcy, Jack Lowden, Barry Keoghan, Tom Glynn-Carney, Harry Styles, and opens on July 21, 2017.

JACK RYAN: SHADOW RECRUIT Review

You could ask Kenneth Branagh where he found inspiration for the latest re-visioning of Jack Ryan, Tom Clancy's definitive character, but it would seem he looked to Martin Campbell's re-figuring of the Bond franchise in 2006 that led to a younger, more intense take on the Ian Fleming character. It would seem Branagh knew that Campbell did things right, that it was a more than flattering way to breathe new life into a franchise that had long since lost its luster yet Branagh also seems aware that simply going for dark and gritty has now become a cliche and doesn't immediately make your final product better off. It has to fit the tone of the character and Campbell along with Daniel Craig were able to create that correlation while Branagh has brought in Chris Pine (who has a knack for playing younger versions of iconic characters) and kept the timid, inexperienced attributes of our titular hero in mind while flattering his intelligence with modern technology and the issues and destruction that can be done in the wake of these advancements. While four films have come before this that center around the Ryan character the most successful of them were all released between twenty and twenty-four years ago. A reboot similar to this was attempted twelve years ago in the form of The Sum of All Fears with Ben Affleck in the lead role, but it never took off. While this attempt may indeed share the same fate as that one it doesn't mean this is a dull experience, but in fact it's pretty damn entertaining before devolving into standard action movie climaxes that are in line with the previous films yet insult the deliberate pacing and character development of the first hour of the film. In saying that, the good outweighs the bad for me here as Branagh has competently followed up his big budget/action debut with both an expertly acted film and a strong craft only lacking when it has to go for the bigger scope the genre this film falls into requires. Branagh has brought the character into the present world, easily introducing him to audiences who may not have seen or even heard of the Harrison Ford films and making his skills more than relevant while maintaining the core values and personality of our main character; something many were weary of when the marketing made this out to look more Bourne than Ryan.

First Trailer for JACK RYAN: SHADOW RECRUIT

Though I've never read a Tom Clancy novel nor have I seen any of the previous incarnations of this character on screen whether it was by Alec Baldwin, Harrison Ford, or even Ben Affleck in The Sum of All Fears I'm always game for an espionage thriller and this looks to fill that quota this year quite nicely. While last year I was surprised to find how much I enjoyed the gritty, back to basics approach of Jack Reacher and while Ryan seems to have taken a more flashy, Daniel Craig-ish Bond approach to the globe trotting the cast is more than appealing and Kenneth Branagh is at the helm which lends this project more credibility than I would have granted it otherwise. Branagh stepped into large-scale, blockbuster filmmaking with his last effort, Thor, and was able to turn what is arguably the most outlandish of the Marvel superheroes into a certifiable hit and a film that is almost universally liked. I appreciate the fact Paramount took Branagh on his good will from that film and gave him a shot at directing what could have easily been a throwaway chance to capitalize on a recognizable name as nothing more than a cash grab. As for the actual trailer, as I said it looks slightly new-age Bond mixed with some Jason Bourne-like stylings, but what doesn't these days? Chris Pine looks to be his typically charismatic self if not a little more humble and reserved than his Kirk interpretation while his supporting cast featuring Kevin Costner, Keira Knightley and the director himself as the baddie make this a teaser that delivers on its purpose. As of right now Jack Ryan: Shadow Recruit is scheduled to open in theaters on Christmas Day, but could change to early 2014.

MY WEEK WITH MARILYN Review

There is a certain level of convention that covers "My Week With Marilyn" when what you would expect from a film based around the life of one of the most famous people ever would be anything but. As I sat there and absorbed the film it became more and more apparent that this snippet of who Marilyn Monroe was meant to evoke a certain aspect to her stardom, that it was a glimpse behind the curtain into what we assumed was actually a rather sad life. It is an age old lesson, fame not being all it's cracked up to be, but it is hard to feel sorry for those who have so much and are depressed because they can't have it all. It looks as if they have it all, but they will never have their anonymity again and that is where the choice has to be made. To become a celebrity and keep that status is to say that you want that lifestyle and accept all the trappings that come with it. People never seem to realize that in these types of movies. I have always had trouble feeling sorry for someone who has all they ever dreamed of yet still is ungrateful for the hardships it brings. That is essentially the story we are served here; that Marilyn Monroe was indeed a self-conscious, lost, pill-popper who constantly needed reassuring from her small team that always surrounded her. That she herself felt like she wasn't the celebrity, the ideal figure of glamour all of her fans had cooked up in their heads. Certainly there must have been a tremendous amount of pressure to live up to those expectations when you are showered with such praise all the time, but for all the fuss and all the compliments we have ever heard about Mrs. Monroe I thought a movie about her might be more charismatic. Instead "My Week With Marilyn" is Michelle Williams bringing her incarnation of Marilyn to a film that doesn't deserve it.

Kenneth Branagh as Sir Laurence Olivier.

When I say the film doesn't deserve it that may sound a bit more harsh than I intended. It is just that, compared to the performance Williams gives the rest of the movie just feels so minor. And maybe that is the effect director Simon Curtis was going for; that to make Marilyn feel so much bigger than anything she was a part of is how those around her felt. I could certainly see an argument for that angle, but in the end that is not the clear intention of the film as I interpreted it. Marilyn is certainly the focus here, but the story in which it is telling actually comes more from the perspective of Colin Clark. Clark was a young film enthusiast and was anxious to work in the pictures. His family was wealthy and had connections which allowed him the luxury of knowing Sir Laurence Olivier and his wife Vivien Leigh who helped get him an interview with Olivier. This film is based on the memoir of the actual Clark who when working as an assistant on the set of "The Prince and the Showgirl" developed a more personal relationship with Marilyn than he could have ever imagined. In developing the relationship between Monroe and Clark (as played by Eddie Redmayne) we see it as more of Monroe trying to escape the pressures of work and living a life that is nothing like the one she has to experience when back in the US. We can see from Marilyn's point of view what she is doing and why she needs it, but we never doubt for a second that Colin is believing every word of it. While this minor love story is "the hook" of the film, the real backbone to it is the job on which Marilyn is supposed to be working and for me, was the highlight of the film. To see Olivier and company in production of a film was the enchanting part of displaying old Hollywood and as Olivier Kenneth Branagh gives a performance to rival even Williams, too bad it isn't given the screen time or focus that might have elevated this film above that conventional feel.

Marilyn Monroe (Michelle Williams) and Colin (Eddie
Redmayne) take a stroll around Colin's old stomping grounds.

There is a host of other supporting members in the film as well that build an atmosphere authentic to the time period. Having Dougray Scott play Marilyn's new husband and famous playwright Arthur Miller induces those giddy feelings when you see iconic figures in their everyday environment while Dame Judi Dench gives the role of Dame Sybil Thorndike a brilliant touch of intelligence that lends her understanding and empathy. Toby Jones, who is always a pleasure to see on screen no matter the role, shows up in a few scenes as does Dominic Cooper. Cooper, only playing a minor role here as Milton Greene, is an an actor that more consistently seems to be popping up in movies that have award aspirations. Cooper is a fine actor as displayed by his leading work in "The Devil's Double" but he brings nothing spectacular to this small role and left me wondering why he might even be interested if there was nothing different he felt he could bring to it. Emma Watson on the other hand has made a nice choice in a small, but effective post-Potter role. As Lucy, a young girl who worked in the wardrobe department on the film, Colin first develops a crush on her, seeing her as the ideal girl he could get to know and would like to be with. In Colin's world, she is reality while his encounter with Marilyn is a state of dream-like wonderment. The relationships are developed convincingly and the main point of the film is conveyed in a way we don't feel smothered by it, but in the end that overall sense of wonderment is all too brief when Williams as Marilyn is forced to become that figure everyone wants her to be. It is funny to watch her turn it on and off, and depressing in that those around her, those she felt the most safe with, were likely more interested in her for their personal reasons rather than her own well being. Funny in that the greatest role Norma Jean Mortenson ever played was Marilyn Monroe.

Dame Sybil Thorndike (Judi Dench) is the one positive
actor on the set of "The Prince and the Showgirl". 

"My Week With Marilyn" is by no means a bad film, it is rather engaging actually and as put in the previous paragraph has a supporting cast any film might envy. Where it feels lacking is in the oversimplified telling of the story. The conflict is there, Williams perfectly embodying this iconic figure and all her insecurities and war against her ego. One of our greatest living actors, Kenneth Branagh, giving a performance of what is no doubt one of his own idols that speaks volumes and is more than nomination worthy yet the focus is in the wrong place and the film overall lacks a confident direction. I have not seen any of director Simon Curtis's previous work as much of it is British TV series', but it is clear he in fact feels overwhelmed by the pure wattage of star power he had on his own set. And not to discredit Colin Clark, but it is clear that after reflecting on the film that the script is where most of the issues arise. The ambition for the movie can be applauded and the glimpse into Marilyn Monroe's life can certainly be appreciated, but there is a level of greatness that the sum of this films parts could reach that feels restrained by the story it is telling and those who are telling it. If they knew what they were doing they would have easily seen the more appealing and interesting relationship was the one that developed between Monroe and Olivier. That would have been one not to miss, this film however should be seen for Williams dedication and the way she captures the essence of Monroe, but should not be held accountable as the "Marilyn Monroe movie". Someone write a full biogrpahical script and get Williams in on that portrait. That would no doubt be something we could all marvel at.

MY WEEK WITH MARILYN Review

There is a certain level of convention that covers "My Week With Marilyn" when what you would expect from a film based around the life of one of the most famous people ever would be anything but. As I sat there and absorbed the film it became more and more apparent that this snippet of who Marilyn Monroe was meant to evoke a certain aspect to her stardom, that it was a glimpse behind the curtain into what we assumed was actually a rather sad life. It is an age old lesson, fame not being all it's cracked up to be, but it is hard to feel sorry for those who have so much and are depressed because they can't have it all. It looks as if they have it all, but they will never have their anonymity again and that is where the choice has to be made. To become a celebrity and keep that status is to say that you want that lifestyle and accept all the trappings that come with it. People never seem to realize that in these types of movies. I have always had trouble feeling sorry for someone who has all they ever dreamed of yet still is ungrateful for the hardships it brings. That is essentially the story we are served here; that Marilyn Monroe was indeed a self-conscious, lost, pill-popper who constantly needed reassuring from her small team that always surrounded her. That she herself felt like she wasn't the celebrity, the ideal figure of glamour all of her fans had cooked up in their heads. Certainly there must have been a tremendous amount of pressure to live up to those expectations when you are showered with such praise all the time, but for all the fuss and all the compliments we have ever heard about Mrs. Monroe I thought a movie about her might be more charismatic. Instead "My Week With Marilyn" is Michelle Williams bringing her incarnation of Marilyn to a film that doesn't deserve it.