Jamie Dornan

  • The 9th Life of Louis Drax (2016)

    The 9th Life of Louis Drax (2016)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2020) Any viewer with a fondness for genre-busting will have a great time in watching The 9th Life of Louis Drax, which never completely settles for one genre when several will do the trick. At first a medical mystery (as a doctor cares for a boy in a coma), then a romance (as the doctor begins a relationship with the mother), then a murder mystery (as a body is found), then maybe horror (as a creature makes its way into the hospital), then again maybe just pretentious literary devices (as the boy in a coma narrates everything and the film is adapted from a novel). Considering that it’s directed by Alexandre Aja, whose best-known films are all in the horror genre, The 9th Life of Louis Drax is a glossy, off-kilter, visually stylish blend of very different things. The casting won’t make it any easier, as we see actors known for a variety of genres all have small and big roles, from Jamie Dornan, Oliver Platt (in a serious role), Molly Parker (as a police officer), Barbara Hershey, to Aaron Paul. If the point is to keep viewers guessing, then great—but the continuous hesitation in picking one of several genres may test other viewers’ patience. It’s also an ambiguity that places far more emphasis than usual on the ending to solve the nature of the story itself, more so than a film that delivers on its premise throughout. Is this magical realism? Is it psychological thrills? The 9th Life of Louis Drax ends up more perplexing than anything else—maybe a realistic tale but one told with so much storytelling style that it feels supernatural.

  • Fifty Shades Darker (2017)

    Fifty Shades Darker (2017)

    ByChristian Sauvé Movie Review

    (Video on-Demand, May 2017) The Fifty Shades trilogy keeps going with this second instalment and the results as just as dull as viewers of the first film can imagine. While the BDSM content has been toned down in favour of a far more conventional romance, Fifty Shades Darker still plays like a direct-to-video romantic thriller enlivened by more explicit than usual sex scenes. It’s remarkably boring, especially as the plot is so threadbare. Stalkers, ex-lovers, etc.: how ordinary. Dakota Johnson is, to her credit, still the best thing about the movie: her acting runs circles over the impassible Jamie Dornan, and she will probably have a career after this series wraps up. Kim Basinger also has a decent small role, but otherwise there isn’t much to say. There’s quite a bit of wish fulfillment in the way the film lingers in high-priced sets and gadgets. There’s even a bit of sunshine when the two characters take a sailboat out for a day. Roughly half a dozen sex scenes interrupt the dull story for even duller moments—the recurring “panties removal” motif is interesting, but not much else. Otherwise, the film does spend quite a bit of time short-looping its dramatic developments (the boss is lecherous? Wait two scenes and he’ll be gone. Christian Gray disappears after a helicopter accident? Wait two scenes and he’ll be back) while spending its last fifteen minutes setting up its third instalment. We know it’s coming. There’s nothing we can do about it.

  • Fifty Shades of Grey (2015)

    Fifty Shades of Grey (2015)

    ByChristian Sauvé Movie Review

    (Video on Demand, May 2015) My favourite vice is curiosity, and so there was no way I could stare at the Fifty Shades of Grey new entry in the video on-demand menu and not, eventually, succumb to the temptation of seeing what the fuss is about.  Take the hype, the controversies, the tut-tutting think-pieces away and focus on the film; what’s on screen?  As it turns out, not much.  There is about twenty minutes of plot in Fifty Shades of Grey, stretched over an oft-exasperating two hours.  The story couldn’t be more basic if it tried: a young innocent girl meeting a rich handsome man, and then the push-and-pull of “will they?”  Dakota Johnson and Jamie Dornan do the best they can with their wish-fulfilment characters, and they don’t really embarrass themselves.  Obviously, the domination/submission aspect of the story is the big avowed draw here, as the protagonist quickly get in bed and then spend the rest of the film arguing about their different conceptions of their relationship.  At best, Fifty Shades of Grey can be funny, skillful and moderately intriguing (the boardroom negotiation scene is as good as it gets, although I kept wondering how they could read anything in that low light.)  Alas, those flashes of interest are rare: Much of the film is a fairly dull affair not just despite the subject matter, but because of it.  As with most sexual fetishes, domination games tend to feel silly or boring if you’re not tempted by them, and so Fifty Shades of Grey’s interest grinds to a halt every time the characters step into The Red Room, or as artificial complications just push the ending further away.  The film does get extra points for an unexpected finale by the usual romantic standards, although that’s mitigated considerably by the knowledge that this is just the first film in a trilogy.  From what I read from the book (which wasn’t much, exasperated as I was with the writing), the film seems to be making the best out of weak material –proof that Hollywood doesn’t always ruin things.