THE ROSES****

I was pleasantly surprised by Jay Roach's remake of the iconic late 80s black comedy about a divorcing couple sabotaging each other's lives. The Crown's Olivia Colman plays a talented chef who puts her career on hold to raise the kids while Benedict Cumberbatch (THE THING WITH FEATHERS) goes on to become a successful architect.  The tables are turned when a massive storm both destroys his latest commission and his career but drives a famous food critic into her humble crab shack.  He becomes a stay-at-home dad and she becomes a radically successful restauranteur.  The divorce only moves into view in the final 45 minutes or so, and allows for a deliciously brilliant cameo from Allison Janney as a fierce divorce lawyer. It's then that we get the gonzo sabotage that made up most of the original film.  

I loved everything about this film. The brilliantly nasty verbal sparring from the two British leads, much of which comes at the expense of their shocked, prudish American friends.  No surprise that the script was written by Tony McNamara who so beautifully mined marital bickering in his under-rated and hilarious TV series The Great. But what gives this movie so much more depth and relatability compared to the original was its willingness to explore contemporary marriage dynamics around gender norms. I loved seeing the husband and wife struggle to cope with his feelings of emasculation as she becomes the breadwinner, and the wife struggle with becoming a side-show in her own children's lives.  We may not all build multi-million dollar houses in the Bay Area, but I think a lot of these financial and cultural pressures on marriage resonate. It was wonderful to see them explored honestly on film.

THE ROSES has a running time of 105 minutes and is rated R. It was released in August.

THE COLOR PURPLE (2023)**

Alice Walker's iconic novel of African American female endurance, THE COLOR PURPLE, has a new life as a movie-musical.  I cannot fault the look of the film, clearly inspired by Julie Dash's iconic DAUGHTERS OF THE DUST, nor its production values, cinematography, costumes, or performances.  Fantasia Barrino is deeply moving and convincing as the heroine, Celie - a woman we first meet as the victim of her father's sexual abuse. We watch her children abducted, her marriage to the equally abusive Mister (Colman Domingo), and late in life discovery of her sexuality and economic power.  By the end of the film she is a late middle-aged woman, with all of the physical change that that implies. She is framed by two other impressive performances. Taraji P Henson plays the renamed Shug Avery - the glamorous nightclub singer who has to reconcile with her faith and father. And Danielle Brooks plays Sofia - Celie's no-nonsense duaghter-in-law who is humbled by a racist white woman.  

Every individual element of this film is calculated to impress but I just could not get over the fact that it was a musical, and moreover that the music was not contemporary to the period in which the film is set (the first half of the twentieth century).  As a result, whenever the production design and performances pulled me into an emotional space, the anachronistic music pulled me right out.  It also didn't help that the director Blitz Bazawule chooses to have the actors lip synch to the ruthlessly studio clean soundtrack. Given that so many scenes are outdoors with the sounds of nature around, I feel this is really a film where it would have been of benefit to have the actors to sing live, as in Tom Hooper's LES MIS, or at least make the songs sound less airless and clean.

The upshot was that I never felt involved with the characters or their story and while I admired it theoretically I was not moved.  The original film made me cry, I felt keenly the humbling of Sofia, and the more discreet relationship between Celie and Margaret sizzled with sensuality. I didn't need the awkward intervention of anachronistic music. 

THE COLOR PURPLE is rated PG-13 and has a running time of 141 minutes. It was released in the US on Christmas Day 2023 and will be released in the UK on January 26th.

CHARLIE BARTLETT - This Charming Man

CHARLIE BARTLETT is a charming and quirky teen comedy directed by sometime editor Jon Poll and written by debut feature writer Gustin Nash. It's a classic tale of teen fantasy - the class loser finds popularity by turning his disadvantages to his advantage. In this case, he dispenses advice and sells on the psycho-ceuticals prescribed to him by the many therapists his rich, troubled mother engages for him.

The film has a major flaw, and that is its unevenness of tone. On the one hand, it has a real sense of style, a quirky score, brutally funny one-liners and a healthy dollop of teenage wish fulfillment. But dispensing narcs to mentally sick kids is a serious business, and whenever the movie tries to grapple with that, it doesn't have the courage to follow it through and slips back into offbeat charm.

For all that, CHARLIE BARTLETT is definitely worth watching for Anton Yelchin's central performance as the troubled teen and Hope Davis' gloriously camp performance as his mother. Yelchin has real charisma in this film and displays great comic timing. (It's a shame he wasn't allowed to move beyond a stereotypical accent in his recent turn as Chekov in the new STAR TREK film.) Moreover, as in all the best teen fantasy movies, Charlie's troubles contain a grain of truth. Anyone who has irresponsible parents knows what it's like to act out and push for some boundaries.

CHARLIE BARTLETT played Tribeca 2007 and was released in 2008 in Canada, the US, Turkey, Singapore, Croatia, Australia, Russia, the UK, Italy, Germany, India, South Korea, Austria, Israel, Iceland and Mexico. It was released earlier this year in Japan and is available on DVD and on iTunes.