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All the Money in the World

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Reviewer: Philip Price

Director: Ridley Scott

Stars: Andrew Buchan, Charlie Plummer, Christopher Plummer, Marco Leonardi, Mark Wahlberg,Michelle Williams, Olivia Grant, Romain Duris, Teresa Mahoney, Timothy Hutton

Released: January 5th, 2018

Despite Christopher Plummer’s J.P. Gettty very clearly being the antagonist in director Ridley Scott’s All the Money in the World the film also seems aware that this is very much a complex character that holds more substance and conflict than what might otherwise be optioned to be portrayed as the straight-up villain of the piece. That said, Scott will often times play to the dark comedy of how much of a penny-pincher the richest man in the history of the world was. Such is true when the director will set-up a scene with the intention of making the audience think one thing only to pull the rug out from under them a moment later; Getty not actually bargaining on the cost of the ransom, but rather on that of an otherwise invaluable painting for example. This technique emphasizes the relationship, the fondness, the affinity Getty has for his money in a movie that is about his refusal to fork over untold millions for something that might offer a greater relationship or something he has a greater fondness and a greater affinity for: his grandson. This again may make Plummer’s Getty out to sound like the obvious villain of All the Money in the World, but there are lessons to be learned-even from those who might not be the most sincere or honest people in the room. Getty might not have always even been the smartest person in the room at any given time for he himself says that any fool can “get” rich, but there is always a strategy or plan in place with Getty-an ability to read the room and/or any offer that came across his desk-that paints this portrait of a man who isn’t being let off the hook for his misplacement of priorities in life (it’s hard to read if the man might have even had any regrets in his final moments when it came to realizing all he had were things and no one in particular that cared about him that he could leave all of his things to), but rather is being conveyed just as he was which was anything but complicated-the man seemed to have a very strict code of conduct-but is all the more complicated for applying that code to every aspect of life. After all, Getty likely could have cared less what anyone thought of him given the power such wealth afforded him. This all brings the conversation back around to that golden rule of he who has the gold makes the rules and in the case of All the Money in the World and the narrative it encapsulates, Getty never takes his hands off the wheel. Thank God for Christopher Plummer.

For the record, director Ridley Scott is eighty. His birthday was last month and this month, just a few days ago, his second film of 2017 hit theaters. Not only this, but the force of nature director made the decision just over a month ago to completely re-shoot all of the scenes in All the Money in the World that featured the aforementioned J.P. Getty character as originally portrayed by Kevin Spacey with that of Plummer’s performance. In an amazing turn of events, Scott was able to re-shoot all of Spacey’s scenes in a matter of nine days and while it may initially cause one to think that Spacey’s involvement might have been minimal this is what makes the turn around all the more incredible. Not only is Getty a large part of the films arc, but he shares scenes with co-leads Michelle Williams and Mark Wahlberg thus forcing those actors to have to come back at a moment’s notice to re-shoot entire scenes that they’d already done months if not nearly a year prior. How Scott and his team handled the continuity is beyond me because the biggest accomplishment of All the Money in the World is the fact that if you had no idea about this behind-the-scenes controversy then you would have no idea anything was off with the picture at all. There is a single moment in a scene where Getty visits the desert and we can see that shots of Spacey’s Getty were still utilized and that Plummer’s face has been digitally imposed on a wide shot rather than having been re-shot, but these are things to be noticed only if you’re looking for them. Otherwise, the biggest detracting factor of the edits from scenes originally shot for the film and those that were shot a month ago is that of the length of Wahlberg’s hair-which, of course-isn’t a deal breaker. The real revelation to come out of all of this if one does go into the film knowing the behind-the-scenes drama is that of how effective Plummer is in his role. Whether it was the way the trailer played it or that of Spacey’s truly different take on the character, Getty originally felt like less the star of the show and more the catalyst for the actions that forced Williams and Wahlberg’s main characters into the main thread of the action. Whatever pre-conceived notions the Spacey trailer might have given potential audiences can be swept under the rug as Plummer is a crucial part of the mindset of this film and more or less pushes the narrative themes forward with each and every scene he appears and with each and every action he takes within those scenes. The film is based on the true story of the 1973 kidnapping of 16-year-old John Paul Getty III (Charlie Plummer) and the desperate attempt by his mother, Gail (Williams), to convince his billionaire grandfather (Plummer) to pay the ransom. When Getty Sr. refuses, Gail attempts to sway him as well as come up with the money herself as her son’s captors become increasingly volatile and brutal. As a result, Gail and Getty’s advisor, Fletcher Chase (Wahlberg), become unlikely allies in the race against time that ultimately reveals this lasting value of love over money.

With a screenplay by David Scarpa (2008’s The Day the Earth Stood Still) All the Money in the World only makes you think it is a kidnapping/race against time thriller, but in all honesty this is a movie about Getty senior that has chosen to focus on what ultimately comes to be the last few years of his life as condensed for dramatic purposes. Up until the end, Getty is a man constantly surrounded by parasites-this extending to his family that includes his grandson’s father, his son, in John Paul Getty II (Andrew Buchan) who reaches out to his father, a man he’s never had any relationship with, for a job that he is granted and ultimately ends up fumbling because he becomes addicted to drugs. This is undoubtedly one of the many reasons Getty Sr. is a man who has to be in control otherwise he loses this edge that he’s been able to maintain his entire adult life that has therefore allowed him to keep himself in this position of wealth and power. Getty doesn’t take risks outside of his calculated business ones so as to not stand the chance of being threatened. It makes sense as to why he reacts to the news and ransom of the kidnapping of his grandson the way he does, no matter the admittedly special place Paul held in his heart. To oblige would be to give in and to give in would be to give way for those to earn the same lifestyle he had to work to obtain. What is interesting about the events that were chosen to be depicted in All the Money in the World though, is that this set of circumstances seems the first time Getty had to truly contemplate if the money was worth the loss of this blood relative he’d once invested so much hope in. Of course, money is never just money and typically stands in for something this person behind the wealth doesn’t have or so Wahlberg’s Chase tells Williams’s Gail shortly after they are introduced to one another. Though Scarpa nor Scott seem to necessarily be interested in what it is behind the facade that makes Getty Sr. tick, but more the facade itself the film can’t help but to give over to such ponderings thanks in large part to Plummer’s layered performance. There is a scene in the film where Getty Sr. discusses the difference in getting rich and being rich and it is in this gray area that Plummer seems to zero in on bringing out his character’s mentality in each and every action. “Any fool can get rich,” Getty advises, but it is the remaining rich, the “being” rich that takes a sophisticated mind. It seems Plummer’s Getty Sr. wanted very much for his grandson to grasp this difference in “getting” and “being”, but such ideas are never followed through on as they weren’t of Scott’s initial intent. Rather, All the Money in the World quickly devolves into that aforementioned race against time thriller that is still very much an interesting, well-acted, and great-looking movie, but beyond this it is never compelling in the way it feels it is meant to be.

That said, all of the performers here are at the top of their game as Williams is especially present in her role as Gail-a scene where she is required to identify a body standing out as the pinnacle of her performance. Wahlberg is more restrained here than we have seen him in some time. It may be that the actor’s last few performances have been so in your face mister tough guy with Deepwater HorizonPatriot’s DayTransformers, and Daddy’s Home 2, but whether it is because Chase is a different type of personality or Wahlberg is trying out something different, the performance hits the right notes-allowing for Wahlberg to show his bread and butter in a pivotal scene near the end of the film. The younger Plummer, Charlie that is, is notable in his rather thankless role despite being the subject of nearly every action that is taken in the film. Having met the young actor a few years back at a screening of his film, King Jack, it was clear the kid had good, natural instincts and so it was no surprise when he ended up on the short list for potential Peter Parker’s/Spider-Man’s in what would eventually become Homecoming. With this and another festival darling this year, Andrew Haigh’s Lean on Pete, though it seems Plummer is destined for his own strong path and he begins paving that by turning in a performance that grants sympathy to a character who very much could have been simply served by anyone embodying the trials and tribulations John Paul Getty III had to endure while being held captive by the Calabrian Mafia for more than five months. What saves such sequences is the fact Plummer is given someone else to play off of and whether Romain Duris’s Cinquanta character is fictional or not it was both a smart move on the part of Scarpa to include or create such a character as Duris’s performance comes to serve as the most surprising and enlightening of the whole picture. Cinquanta is a character that begins the film as another crony in the kidnapping scheme, but is the first to show the victim his face, to risk getting to know him by conversing with him, and ultimately who comes to feel pity for this privileged boy who could have had the world were his childhood and role models not been so dysfunctional. While Wahlberg and especially Williams are the characters we follow on the main mission it is Cinquanta that has the biggest arc in the film and the one that is something of a conduit for the audience to understand the ever-changing dynamic between Getty III and his captor. What develops between Cinquanta and the young Getty is a pure connection as both have more to lose than they have to gain by feeling sorry for one another and it is this exact type of relationship that Getty Sr. seemed to only find in beautiful things, but never in other human beings. A shame to be sure, but also a shame is the fact All the Money in the World can’t help but feel as detached as Getty Sr. despite a minefield of ideas and themes laid out before it.

I love movies, simple as that. I watch them with an intent to write about them and have always enjoyed discussing the latest news and releases with others. I received a Bachelor of Arts in Writing and Mass Communications/Digital Filmmaking and combined those interests when I began writing about cinema. Hope you enjoy the reviews, Happy reading!

Movie Reviews

LFF 2018 Review – Colette

Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.

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Director: Wash Westmoreland

Stars: Keira Knightley, Dominic West

Released: London Film Festival 2018

Born in 19th century France, Sidonie Gabrielle Colette wrote more than 80 volumes depicting her childhood, her life, her pains and pleasures. Her writings were sensual, vivid and all published under her husband name, “Willy”.

No stranger to female-centric stories, Wash Westmoreland follows up on “Still Alice” and “Echo Park, L.A.” with this dazzling period biopic starring Keira Knightley and Dominic West.

The film starts, the young country girl, Colette (Knightley), marries writer and critic Henri Gauthier-Villars (“Willy”) who introduces her to Parisian salons. Willy soon finds himself in debts and is desperate enough to seek his wife’s help. She will write. Colette writes what she knows and her first novella, “Claudine à l’école” (Claudine at school) is a success. Willy forces her to write the next ones, locked in a golden cage, to ensure his fame and success.

The settings are sumptuous and we gladly follow the camera through the stunning but confined Parisian apartments where the outside light only comes through when she feels inspired. Costumes evolve, as Colette, from heavy and restricted dresses to wild and daring clothing as if Mademoiselle Chanel had designed them herself.

Colette finally loosens from her husband and experiments with woman, society and dancing, feeding her inspiration. Forced and uncredited, Colette cannot enjoy writing and runs off to perform in the music-hall in her own name. In like most biopics, we go from one key event to another, regrettably quickly and often without knowing how we got there. Willy’s sudden appointment of his wife is left as unexplained as the abrupt ending that could have potentially seen Colette, a happy writer.

In the second part of the film Westmoreland seems more interested in looking at the awakening of a young woman rather than at the birth of an author whereas Keira Knightley shines in the lead role. Often known for playing the innocent and rebellious youth, Knightley still pulls off the young Colette in the first part of the film but is at her best when she evolves into a mature woman, aware of own desires. The best scenes of the film come when Colette is free and herself, usually in the company of other woman, particularly the terribly charming Missy (Denise Gough). Westmoreland multiplies two shots and close ups and creates impactful intimate scenes but regrettably gives up on them too fast.

It is a change to see a character such as “Willy” that is both ridiculous and loving. This duality creates, perhaps, a more truthful relationship between the two. No one is born an artist and behind every writer there is an intuitive editor (and in 20th century France, who else could it be than a man?). For Westmoreland if there is no Claudine without Colette, there would have been no Colette without Willy.

With its lavish setting and jumping plot, Colette can feel a tad velvety at times but is lifted by Keira Knightley’s sensual performance and liberating battle that painfully resonates today.

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Movie Reviews

LFF 2018 Review – If Beale Street Could Talk

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Beale Street Movie Marker

Released: 8th February 2019

Directed By: Barry Jenkins

Starring: Kiki Layne, Stephan James, Regina King, Colman Domingo, Teyonah Parris, Brian Tyree Henry

Reviewed By: Darryl Griffiths

In his entrancing and eventual Best Picture Oscar winner ‘Moonlight’, it was the longing to be authentic. To be accepted in an often volatile environment that powered its narrative.

Clearly in this pitch-perfect adaptation of the James Baldwin novel, director Barry Jenkins is consumed with longing of a different kind that is just as potent. Justice. An eradication of the infuriating systemic abuse of law and power against black people in America, that sees this luminous love story in 1970’s Harlem, strike modern-day parallels with our own divided, morally skewed society.

An incandescent portrayal of young romance. The tenderness, respect and sheer revolve that underpins the relationship between Tish (Kiki Layne) and Fonny (Stephan James) will leave you spellbound from the outset, as their lives are soon mired in despair. The rapturous joy of new life as Tish falls pregnant, backed up by the triple threat of mom Sharon (Regina King), dad Joseph (Colman Domingo) and sister Ernestine (Teyonah Parris). Quickly cancelled out by the malice of Fonny’s staunchly religious family and a false yet potentially devastating rape allegation made against him, as they scramble to prove his innocence.

Punctuated by Kiki Layne’s wholesome narration and an overwhelmingly beautiful Nicholas Brittell score that i would be content listening to for days on end. Jenkins exchanges the melancholic blues of his previous effort for a broader but no less lush visual palette, with its exquisite interiors and classy costume design almost serving as a rainbow for the tears that have streamed down their faces through such hardship, but their spirit and love continues to illuminate their gritty surroundings. Whether it be lingering close-ups of sweet embrace or deep sorrow. Its director doesn’t flinch for a second in conveying the simmering emotions on display and in doing so, leaves you completely transfixed by his tactful approach to the source material.

There is a raw resilient energy that permeates throughout its central romance. Kiki Layne’s Tish serves as the remarkably understated, calming influence to Stephan James’ broken-hearted prisoner, a slave to a corrupt system with a searing monologue by Fonny’s dear friend Daniel (Brian Tyree Henry) reinforcing the pain inflicted. Through it all, their hopeful adoring looks and stifling intimacy simply captivate. In Regina King’s marvellous mother figure, she peppers the film with considerable candour, armed with dialogue that pierces your soul. Whilst Jenkins leaves enough room for inspired cameos that are best left a secret, which gorgeously represent a sense of community and a progression in attitude, that defies the period.

A steady panning shot as Fonny smokes may seem throwaway. In this case, it is awfully fitting to articulate the finesse of its director. Lose yourself in the mesmeric haze of ‘If Beale Street Could Talk’.

A lyrical experience that reminds you of the poetic power cinema can truly possess. His love for the art form brought him here. On this form. Trust Barry Jenkins to go all the way.

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Movie Reviews

LFF 2018 Review – Stan & Ollie

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Stan and Ollie Rating Movie Marker

Released: 11th January 2019

Directed By: Jon S Baird

Starring: Steve Coogan, John C.Reilly, Shirley Henderson, Nina Arianda

Reviewed By: Darryl Griffiths

Products of classic Hollywood whose superior slapstick routines triggered endless laughter from their legion of fans, propelling them to legendary status. The sheer physicality and comedic prowess displayed by the English/American duo of Stan Laurel and Oliver Hardy, still puts many modern-day efforts to shame.

But like so many comedians, there is a tragic element to their careers that contradicts their profession. Through this solid biopic by Filth director Jon S. Baird, it looks to give us a poignant insight into the duo’s grueling twilight years.

Their popularity slowly dwindling. Their bones creaking. Whether on the big screen or the stage, Laurel (Steve Coogan) and Hardy (John C.Reilly) are suddenly not the hottest ticket in town in the early 1950’s. Lumbered with Rufus Jones’ Bernard Delfont, a wisecracking promoter who seems more invested in the likes of Norman Wisdom, they look to reignite interest with a lengthy theatre tour and a long-gestating film project. Yet with audiences middling, contract negotiations stalling and the workload far beyond what was expected, it puts a significant strain on the health and friendship of these two towering talents.

Inevitably with its story, you would expect ‘Stan & Ollie’ to be assured in its abilities to make you laugh. However much of the first half feels surprisingly stilted as Coogan and C.Reilly throw themselves into the pair’s much-beloved routines, with regular cutbacks to their adoring audiences. For the uninitiated, it may initially make you wonder what the fuss was about. Thankfully as the film’s supporting players are introduced to spar with our central characters, it finds a more consistent comedic rhythm, neatly intertwining with the film’s simmering emotion.

Whilst it’s undoubtedly a few visual flourishes away from being a formulaic BBC Christmas special. The admiration of S.Baird for Laurel & Hardy certainly shines through in its refined production, beginning with an exquisite tracking shot on a studio lot as he works his way through the duo’s masterful mischief with fondness.

The rapport between John C.Reilly and Steve Coogan anchors proceedings wonderfully, skilfully capturing the mannerisms and effectively articulating how dependent they are of each other, despite their ongoing disputes. In C.Reilly’s Ollie, his fully-fleshed turn pierces through the fat suit he wears, whose willingness to perform despite failing health is soul-stirring. Whilst the relentless nature of Coogan’s Stan, as he looks to churn out the material strong enough to breathe new life into their double act, makes for compelling viewing. The real danger posed however, is that the film’s main attraction are nearly upstaged by their witty wives, with Shirley Henderson’s Lucille and Nina Arianda’s Ida threatening to steal every scene they grace.

Entertaining enough to gently applaud. Yet perhaps not an act that quite raises the roof. ‘Stan and Ollie’ coasts by on its endearing nostalgic charm and committed performances.

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