Gugu Mbatha-Raw

  • Larry Crowne (2011)

    Larry Crowne (2011)

    ByChristian Sauvé Movie Review

    (On TV, August 2020) It’s interesting that Larry Crowne came and went with nearly no lasting impact – after all, it’s a Tom Hanks movie: he produced, co-wrote, directed and starred in it, clearly making this film his by any measure. It’s not a large-scale film: it revolves around a middle-aged man struggling to find meaning to his life after becoming unemployed. He can’t find a job, can’t make his house payments, and even his SUV is too expensive to run. The natural solution is to enroll to community college, make better financial choices and start riding a scooter to school. As we know, college is an opportunity to meet new people and change your life, meaning that he gets the attention of a free-spirited student and his burnt-out public speech teacher. Subplots include him using the teaching of his economics course (led by a self-absorbed professor hilariously played by George Takei) to straighten his situation and let go of the past. Larry Crowne’s biggest assets are its considerable charm and a terrific ensemble cast led by Hanks himself (in his everyman persona) and Julia Roberts as a dangerously disillusioned teacher at the end of her rope and her marriage. Gugu Mbatha-Raw is a ray of sunshine as a kind of character that could only exist in a movie, but does brighten up the entire film. Other familiar names, sometimes in very small roles, include Pam Grier, Cedric the Entertainer, Taraji P. Henson, Bryan Cranston and Rami Malek. The plot definitely has issues, and a credible argument could be made that the last thing we need is another film about a white male mid-life crisis. But Larry Crowne is almost ridiculously easy to watch – it has that immaterial “pleasure to watch” quality that simply keeps us smiling until the end. The romantic plot seems far-fetched (aren’t rebound relationships a bad thing?) and the interest that the younger characters take in the protagonist smacks of fantasy, but everyone is just so likable that it doesn’t matter much. It all amounts to a film that works preposterously well, but may not have the hook required to make a bigger impression. On a purely directorial level, Hanks meets his objectives here – there are clearly similarities with his earlier That Thing You Do! in terms of easy watchability, even though his craft may not be as apparent on a modern piece as opposed to a period one focused on music. Still, I can’t help but feel that its poor box office and general absence in film conversations means that Larry Crowne remains unfairly overlooked by everyone.

  • Motherless Brooklyn (2019)

    Motherless Brooklyn (2019)

    ByChristian Sauvé Movie Review

    (On Cable TV, July 2020) There’s something to be said for meaty plot-driven movies, and Motherless Brooklyn is the kind of endangered American studio film at the brink of extinction: smart, dense, definitely political (in the progressively engaged sense rather than the cheap-shot sense) a bit too long for its own good and yet remarkably rewarding if you’re willing to put in the time and attention. Written and directed by Edward Norton, it also features him in the lead role, as a private detective gifted with prodigious memory and analytical abilities but afflicted by Tourette’s syndrome. It’s a plum role for Norton, as the usual 1950s tropes are all slightly altered by his portrayal of a savant with social issues. Norton’s writing is crisp and his direction is transparent—but his acting calls attention to itself as we get inside an unusual mind. A rather good cast complements Motherless Brooklyn: Gugu Mbatha-Raw plays an activist with a secret unbeknownst to her; Alec Baldwin is ferocious as an influential city official, Willem Dafoe cleverly plays on his ragged image and Bruce Willis stuns in a rare good later-day performance in a short but pivotal role—for once, he’s not slumming on minimal effort, which I’m crediting to Norton as a director. The film is nominally based on a Jonatham Lethem novel I haven’t yet read, but even a cursory look at plot summaries shows clear differences between book and film: the film goes for neo-noir aesthetics by setting itself in 1950s New York (as opposed to the then-contemporary setting of the 1999 novel), and many subplots differ, all the way to the nature of the ending. Still, Motherless Brooklyn does have a comfortable heft to it: slightly too long for its own good, but still not a bad experience. I wouldn’t take away the scenes that talk about the importance of city planning, or the meditation on power, both municipal and personal (and how the same power can lead anyone to do public good and private bad.). Motherless Brooklyn is not a complete success, but I’ll take a few more of those movies rather than what the studios are churning out in an attempt to chase the summer tentpoles.

  • Fast Color (2018)

    Fast Color (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, March 2020) I like a few things about Fast Color—a starring role for Gugu Mbatha-Raw, for instance, or writer-director Julia Hart’s intention to get away from traditional comic book plot devices to feature a rural matriarchal setting with unusual superpowers. It’s enough to make the film interesting to watch. On the other hand, it’s not enough to overcome a growing disappointment with the film’s threadbare worldbuilding, languid pacing, scattered effectiveness and shrug-inducing finale. While the intention to get away from familiarity works in some cases, it hurts the film in others because the familiar works. While I’ll bristle at anyone calling this a superhero film rather than a science fiction one, they do have a point: Fast Color is designed for effect first, with logical plausibility or coherence running a distant second — Little in the film makes any sense unless you accept the premise and stop wondering about it. On the other hand, it does have chances of reaching an audience that doesn’t usually find itself compelled by more traditional Science Fiction films. As with all things, opinions will vary.

  • Odd Thomas (2013)

    Odd Thomas (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2019) I ignored Odd Thomas for years, working from the conviction that it couldn’t be more than an average film if it had been adapted from a Dean Koontz novel. (I once read twenty-some Koontz novels in the span of a single year, and liked only one of them.) But as it turns out, this movie adaptation is something different from the usual Koontz. Introducing us to a small-town California psychic, this is a film that makes use of chatty protagonist narration, a fast-paced plot and some off-beat details to tell a story with a well-rounded execution from familiar elements. I suspect that much of the fluidity of the result comes from director Stephen Sommers, a capable sfx storyteller who had a few high-profile movies between 1998 and 2009 but seems to have been sidelined of the industry since then. The plot has something to do with preventing a mass shooting, but the way we get there is far more interesting than expected with plenty of humour, suspense, ingenious use of fantastic tropes and good actors in key roles. The late Anton Yelchin stars as Thomas, with an early role for Gugu Mbatha-Raw and a supporting turn from Willem Dafoe. The hook is interesting, and while there is something slightly off about the overly cute banter as well as some of the individual moments along the way (including a far too dark romantic conclusion), the execution is generally above average and the film is a bit of an unassuming surprise. Even though it’s more of an underrated B-movie than anything else, I probably shouldn’t have waited so long to see it.

  • The Cloverfield Paradox (2018)

    The Cloverfield Paradox (2018)

    ByChristian Sauvé Movie Review

    (Netflix Streaming, February 2018) Some movies are events more than movies and The Cloverfield Paradox is one of those—the events surrounding the film’s release are far more interesting than the film itself. To recap: third in a series of increasingly incoherent anthology movies somehow revolving around the word Cloverfield and the quest for corporate profits, the film once known as The God Particle was retooled to fit in the Cloverfield series during shooting, bought from Paramount by Netflix and released online mere hours after the first broadcast of its trailer during Super Bowl XLI. There has never been such an instant release of a mid-budget Hollywood film before (other Netflix originals were long in the making, and marketed traditionally), and that is the very definition of hype. Alas, when you strip away the hubbub and take a look at the film itself, what’s left isn’t much more than a disappointing space-station horror film. Even by the low standards of the sub-genre, The Cloverfield Paradox is less than it should have been: the plot is fairly dull, the subplots barely make sense and—adding insult to injury—the film features an explanatory broadcast explaining that once technical mumbo-jumbo is achieved, anything and everything can happen without explanation, not just in this movie but others as well. The crazy thing is that even as dumb a manoeuver as this may work: There’s a sizeable Cloverfield fandom out there, and it seems dead-set on rationalizing even the laziest half-hints provided by series producer J.J. Abrams. For clear-headed viewers, the scam is obvious: despite the elaborate ARGs and the mythology hints and the nonsense mystique of “The Mystery Box,” this is all a bunch of nonsense loosely tied together without purpose, taking advantage of the nerdy OCD trait of creating connections when there are none. The Cloverfield Paradox is about slapping a label on a substandard product and selling it at twice the expectations. The irony is that if it had been released in its original formulation, The God Particle could have been a pleasant low-expectations surprise. I do feel sorry for actors as talented as Gugu Mbatha-Raw and Daniel Brühl, doing their best but stuck in a nonsense film. Moment of directing also shine, but they’re quickly buried under the film’s internal contradictions and incoherent plotting—from a technical perspective, The Cloverfield Paradox is as slick as any mid-budget Hollywood production. But I almost hope that Bad Robot has pushed too far with this second off-label Cloverfield product—now that the modus operandi of tying spec scripts to a blurry mythology is clear, the Cloverfield brand has been tainted as a low-end product. A fourth entry, Overlord (no telling what it will be named once it gets out) is planned for later in 2018. We’ll have a better idea by then how sustainable is that marketing model.

  • Free State of Jones (2016)

    Free State of Jones (2016)

    ByChristian Sauvé Movie Review

    (Video on Demand, November 2016) As much as it’s not advisable to trust Hollywood for anything approximating a history lesson, Free State of Jones offers a quick dramatic primer on the incredible story of Jones County, a small area of the Confederate South that managed to rebel against the southern government and remain independent throughout much of the American Civil War. Matthew McConaughey stars in another substantial role as Newton Knight, a Confederate soldier who defiantly returns home with his dead cousin and rebels against the local authorities, drawing more and more support along the way. This takes us through the Civil War, well into reconstruction and the difficulties encountered after the moment most war movies end. It ends up being an uplifting story about inclusiveness, rebellion against injustice and the power that small communities can have in shaping their destinies. Gugu Mbatha-Raw and Keri Russell have good supporting roles as wives who reach a curious understanding. Free State of Jones is not quite as successful as it could be: it feels long at more than two hours and a quarter, resorts to title cards to explain what it can’t dramatize, isn’t always able to make the most out of its scenes, loses its way in flashforwards and occasionally feels like it’s repeating the same thing. Still, it’s an interesting historical thriller, and it has a few weighty themes on its mind. It could have been better, but it easily could have been worse.

  • Concussion (2015)

    Concussion (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, August 2016) The National Football League has wrapped itself so tightly in the American flag and associated values that attacking it seems outright blasphemous if not vaguely treasonous. So you’ll excuse Concussion if it carefully walks a line between denouncing the league and yet not offending any sensibilities. Transforming true events in a conspiracy thriller in which a lone brave doctor discovers the link between football and premature brain damage, Concussion pumps far too much drama in its structure. It works, but only to a point: While the middle third of the story is reasonably gripping, the first act leisurely establishes the endearingly nerdish personality of its protagonist, and the conclusion peters out without a clear triumphant moment to ease the lead character’s trials. As the headliner, Will Smith is actually pretty good: he credibly takes on a Nigerian accent and minimizes his natural cockiness in a role that only needs a fraction of it. It’s a refreshingly adult performance for an actor who has had trouble evolving his screen persona. Gugu Mbatha-Raw does good work in what is slightly more than a generic character, while Alec Baldwin still makes the most of his propensity to play antagonists … even when he isn’t. Football is America’s secular religion, and Concussion occasionally seems preoccupied by the need to pull its punches. The made-up conspiracy angle (with FBI raids! And car pursuits! And a miscarriage!) whimpers out, leading to an underwhelming conclusion that relies a bit too much on title cards. Concussion is not a bad film, but it does feel unfinished at times.

  • Belle (2013)

    Belle (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2015)  There is often a tension, in modern-made period films, between the most idealized aspects of the era being presented and the modern values we wish they’d embody.  Classic examples include Victorian Britain, as confronted with their terrible record on human rights; Antebellum Southern United States and slavery; the suburbs of the nineteen-fifties and the place left to women.  (Heck, any historical period in Western history featuring anyone who wasn’t a straight white male.)  But it’s occasionally possible to find a topic that manages to address both kinds of wish-fulfillment, and that’s something that Belle accomplishes quite well.  The story of a half-black woman raised as an equal in a rich British families in the late 1700s, Belle builds its dramatic tension based on what we expect from such an era, and resolves them by showing ordinary people acting decently.  Here really isn’t much more to that: the film’s big conflict is solved by revealing a panting (a real-life painting, as it turns out).  As far as progressive-values film go, it’s basic but enjoyable – the period garb look fantastic, Gugu Mbatha-Raw is lovely in the lead role, director Amma Asante does well and Tom Wilkinson continues a highly successful string of good supporting roles.  Belle doesn’t need to be much more than be amiable and look good, and it does that well.