*NEW* BROOKLYN REVIEW *NEW*

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A great cast reprieved this pleasantly easygoing (if slightly underwhelming) drama.

An Irish immigrant (Saoirse Ronan) lands in 1950s Brooklyn, where she quickly falls into a new romance. When her past catches up with her, however, she must choose between two countries and the lives that exist within.

Ronan has developed into quite the actress. Brooklyn was the perfect showcase for her. She gave an excellent performance and carried the piece very well. BUT for all the hype and praise, I expected so much more. BUT that’s not to say, I didn’t enjoy it.

The opening half hour was easygoing enough as Eilis (Ronan) prepared to embark on the journey of a lifetime. The petty squabbling with Brid Brennan’s scornful shopkeeper and teary send offs with Eilis’ sister and mother kept things ticking over.

Her journey to America certainly picked up the pace. The conditions in which she travelled in were surprising. Crammed into small compartments and forced to share the same toilet. Things got even worse when the poor girl suffered from food poisoning.

Eva Birthistle (Ae Fond Kiss) delivered a memorable turn in the small role of Eilis’ seasoned travel companion. Sending Eilis on her way with some handy advice. Once Eilis got to America, the pace did slacken BUT you could feel for her as she struggled to fit in with her job at a department store with the stern Miss Fortini (Mad Men’s Jessica Pare).

The homesick letter sequences between Eilis and her sister Rose (Fiona Glascott – Omagh) managed to crack the most cynical of critics. I noticed a few teary eyes. No, not mine. I loved how they conveyed their relationship over a few simple letters. Well done.

Julie Walters was brilliant and on fine form as the hilarious and uptight boarding house keeper Mrs Keogh. I couldn’t believe that Felicity Smoak from Arrow (Emily Bett Rickards) featured as one of the vindictive boarding house girls. Desperate to snag a man.

Jim Broadbent gave a stellar supporting performance as Father Flood and delivered a convincing Irish accent. Aiding Eilis in her time of need. I really wished he was in this more. BUT of course, it wasn’t long before our heroine fell in love. Awww (Yuck).

Emory Cohen wasn’t strong enough for me as Tony. He didn’t quite pull off the cheeky Italian American that well. BUT he did have good chemistry with Ronan which made up for the hammy performance and I was happy to watch the pair’s blossoming romance.

However after receiving some tragic news, Eilis must return home. I will admit I haven’t read the novel and if it wasn’t for the heavily flogged trailers, the news would have been more of a shocker. Alas it was not to be.

Eilis must make a choice to stay home or go back to the love of her life as more and more temptations are thrown in her path. Domhnall Gleeson (About Time) did well with the role of Jim Farrell BUT the character didn’t really have enough screen time to make a convincing option for Eilis. I understand that it might have been a retread of what we had already seen with Tony BUT you could see how he was appealing to Eilis on a different level.

For the all the potential drama hanging over her with the community and her mother’s desperate efforts to keep her home, it didn’t quite kick off as much as I had expected. It was all far too tame.

Director John Crowley (Boy A) and writer Nick Hormby (About A Boy) only scraped the surface of immigration. A touching scene where Eilis assists at a soup kitchen hit home. The majority of the homeless being Irish immigrants who had tried to find a better life in America.

BUT it was a little too light and fluffy. Despite some touching moments and that meandering build up, the ending was quite rushed and far too abrupt for my liking.

A superb cast and an easygoing pace do just enough to keep things watchable. BUT for all the praise, I was left wanting. Shame.

3/5 (Just)

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The Grand Budapest Hotel Review

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Grand . . . to look at but beneath it’s eye catching decor, it doesn’t quite match your expectation and leaves a little to be desired. Hardly a film I would revisit but not bad for a weekend break, if you get my drift.

Right enough wordplay. This is really down to how much of a Wes Anderson fan, you are. Obviously, not as much as I thought. Wes Anderson already has an extensive collection attached to his name; The Royal Tenenbaums, The Life Aquatic of Steve Zissou, Rushmore, The Fantastic Mr. Fox, The Darjeeling Limited and Moonrise Kingdom to name a few. I personally didn’t mind Tenenbaums and Zissou but felt they were patchy and a little overhyped. Great to look at, with the occasional laugh but missing something. The film that delivered for me was the underrated stop motion animation adaptation of Roald Dahl’s The Fantastic Mr. Fox. It was eccentric, rapid, zany and hilarious. From the trailers, I hoped the Grand Budapest would follow a similar vein, but alas darlings, it falls short. It’s not all ghastly, however. I may pick at Anderson but one thing I’ve always loved with his films is his ambition and the ability to tell stories in such a different manner.

As soon as the film begins, all the Anderson traits are there (Watch out! It’s going to be a bit film academic-y here); the handmade aesthetic, signature curios and saturated colours. The hotel really is grand, bold, with it’s lavish decor and endless Shining-esque hallways. A feast for the eyes, bright, colourful. Every frame rammed with concierge, people and if not that, crazy props. It’s a little mad to start, but sets up what to expect from an Anderson film. From the get go, we’re presented with a complex narrative within a narrative within a narrative, as we follow several different people (A strange girl in a cemetery, to a renowned author (Tom Wilkinson), to a 20 year flashback of said author in the form of Jude Law in a rendez-vu with a recluse and owner of a failing hotel, named Zero Moustafa (F. Murray Abraham – Homeland) in the middle of nowhere)

The gist, and more importantly, the main story flashes back to the 1930s, focusing on the adventures of the legendary GBH concierge, Monsieur Gustave H (Ralph Fiennes) and his loyal lobby boy, a young Zero Moustafa (Tony Revolori) as they must deal with the theft and recovery of a priceless Renaissance painting, as well as battle for an enormous family fortune, all against the backdrop of a dramatically changing Continent impacted by war.

The talented ensemble that Anderson has at his disposal makes for some surprising roles, and expected ones. The main man that stands out is the eccentric, charismatic and flamboyant Monsieur Gustave played with aplomb by ol’ Voldy himself, Ralph Fiennes. His delivery and witticisms are fantastic. There is great chemistry and camaraderie between him and Revolori, who makes an impressive debut performance. They are a great duo to watch. It all starts off quite light, easygoing with Zero being mentored by Gustave, which with the material and extensive cast, Anderson is allowed to wonder off at random tangents. However, it does have the tendency to drag and some parts come off a little hit and miss. As well as there being a checklist for Anderson traits, there has got to be one for the number of regulars he manages to grab to appear in this.

The film kicks off when Gustave is accused of killing the frail Madame D (Tilda Swinton) for her fortune. Kudos to the make up team for turning Swinton into the overanxious, love smitten pensioner. Once the chase is on and backstabbing begins, it all makes for a mad old ride. Anderson excels in his set pieces, which makes up for the more comical moments; most notably in the unintended hotel shoot out, the ski slope chase (which is in a similar vein to that of Mr. Fox). The elongated sequence in which Gustave must meet up with a secret contact in a monastery was a particular highlight and was almost Pythonesque. The elongated sequence with the numerous referrals to numerous concierge members just to get faces in, not so much.

The tone of the film is a little messy. It goes from whimsical, slapstick to dark and macabre. A bizarre and rather intimidating encounter between Madame D’s scorned son, (played superbly by Adrien Broody. If anyone can play a creep, it would be him), his relentlessly grim knuckle dust wearing henchman (gruesomely played to perfection by Willem Dafoe) and the oblivious lawyer (Jeff Goldblum) veers off from darkly comical to a suspenseful cat and mouse sequence with a feeble escape attempt that wasn’t very handy, shall I say? Anderson delicately attempts to balance the tone but at times, it’s unexpected and for a minute, you think, “Am I watching the same film?”. The prison sequence is brilliantly executed and funny to boot, if a little dark with a surprise cameo role. It’s a bit all over the place. Fiennes’ finesse and comic delivery is the much needed carrier and catalyst of this movie. When it’s funny, it brings out the odd chuckle, most notably with a funeral punch up and mad race across the Continent from a crazy collection of coppers under the leadership of the always talented Edward Norton.

I didn’t expect the darker elements, which made up for a meandering pace. However, it felt a little Midsummer Murder-ish to me. A bit OTT. But then this is Anderson. If you can accept that for some of the film’s more crazier and stranger elements and are an avid lover of his previous works, this one will go straight into your collection but if you’re still on the fence, this one might not help in pushing you for or against him. I felt the romance between Revolori and Saoirse Ronan got pushed back to the fold, which questioned its existence to begin with, which is a shame because the pair had good chemistry. There are so many faces and characters that others you want to see more of, disappear or don’t get enough of the screen, while others you can’t help but wonder why they’re there in the first place. The little things are what make it for me with Anderson. I really wanted a live animation of Mr Fox, with its eccentric fast paced zippy chaotic madness. Although I got that at parts, it just fell short for me and what was the point of the opening with the first narrator? It’s Anderson. Somehow not a good enough answer for me.

For the Anderson addicts, right up your street. For everybody else . . . well, it’s different. 3/5.

 Currently ranks #52 out of 152!