Bombshell (2019)

Based on true events, this film tells the story of a few incredibly brave women, and their fight for truth and justice in the high-stakes world of broadcast cable news.

Set entirely in the Fox News headquarters in New York, during the presidential campaign in the lead-up to the 2016 election, the film centres around three women in particular, and their campaign to bring down the head of the network, accused of multiple counts of sexual harassment over several decades.

Popular anchor Megyn Kelly (Charlize Theron) is at the height of her career. With the prime timeslot on the Fox network, she has everything at her disposal. That is, until presidential hopeful Donald Trump tweets out an insult at her after a simple question that he refuses to answer. Once his supporters see the vitriolic messages online, they turn against her en masse, sending threatening messages of their own, including death threats.

Megyn Kelly (Charlize Theron), Gretchen Carlson (Nicole Kidman) and Kayla Pospisil (Margot Robbie).

Meanwhile, less-popular anchor Gretchen Carlson (Nicole Kidman) is fighting a fight of her own, as the head of Fox News Roger Ailes (John Lithgow) feels her drive to report the truth is diametrically opposed to the network’s ideals. In fact, it becomes so difficult for the two of them to get along that she is fired.

Young up-and-coming reporter - who wishes to one day be an anchor herself - Kayla Pospisil (Margot Robbie) on the other hand, is climbing the ranks very quickly, as Ailes seems to have taken quite a shine to her. The trouble is, the things she has to do to get ahead stand in opposition to her conservative Christian faith.

After Gretchen is fired, she gets in touch with a law firm, accusing Ailes of decades of sexual harassment, and it isn’t long before other women - both current and former employees - begin to come forward.

Megyn Kelly (Charlize Theron) and Roger Ailes (John Lithgow).

The screenplay, written by Charles Randolph, is very well-constructed. One has to continually pinch oneself to remind one that this film is actually a true story, so shocking are the revelations and comments and views of many of the characters, particularly the male characters. The film uses a large amount of archival footage as well, reminding viewers of the truth and historical nature of the plot.

Theodore Shapiro’s music - as scarce as it may be - is brilliantly composed and constructed. There isn’t a lot of it, however, but the sections where it does feature are improved dramatically by the music. Shapiro uses his music exclusively to highlight the more intense psychological moments of the story, and it works well in every instance.

I was not a big fan of the cinematography in this film, I’m sad to say. While cinematographer Barry Ackroyd does have a good grasp of light and dark, shadow and contrast, the enormous amount of hand-held camera and quick movement left me feeling nauseous at the best of times, and not because of the subject matter. There are a lot of very close shots as well - in fact, most shots are way too close in my opinion.

Kayla (Margot Robbie) and Jess (Kate McKinnon).

The performances of the cast are quite good, though. There is actually an enormous ensemble cast in this film, including Jay Duplass as Megyn Kelly’s long-suffering husband, Allison Janney as Ailes’s lawyer, and even appearances by the Murdoch family (not the real thing, they’re played by actors). The three lead female actors are all fabulous, none more so than Margot Robbie, who could be on her way to yet another Oscar nomination.

John Lithgow is also fantastic as Ailes. Were it not for his name in the opening credits, one may not even recognise him in this role. He not only looks very different in a physical sense, but his portrayal of the character is so well done, and so different from anything else he has done before, he may also be in line for a nomination this year.

Director Jay Roach has made a pretty good film here, certainly a film that will be talked about for a long time, and especially in this time of award ceremonies. I wouldn’t say you need to rush out and see it on the big screen, but you definitely do need to watch it; it is an important story filled with important issues.

8 out of 10.

Pitch Perfect 3 (2017)

The whole gang are back again to bring this moderately successful franchise to its conclusion. Well, the girls at least.

The Barden Bellas we know from the first two films have all graduated from college and gone on into their own individual lives. Although Emily (Hailee Steinfeld) is still in college, as she is younger than the others.

Beca (Anna Kendrick) is working as a producer, which is what she has wanted to do for a while. Her flatmate, Fat Amy (Rebel Wilson) is a street performer. Chloe (Brittany Snow) is a veterinary nurse, and all the others have their own careers in progress, too.

After Emily gets them all back together for a reunion, they reminisce about the days when they used to sing together, and Aubrey (Anna Camp) suggests they have one final fling together as a group. Her father works in the military, and she comes up with the idea that they can all perform in a USO show to entertain the troops in Europe.

The Bellas.

And so they all head off to Spain, pursued of course by John (John Michael Higgins) and Gail (Elizabeth Banks), who are filming a documentary - or d’aca’mentary.

When they arrive, it turns out there is a ‘competition’ of sorts: DJ Khaled is looking for an artist or group to be his support act on his latest tour, so the Bellas must prove themselves - taking on three other hugely successful groups - and everyone wants the prize, so it isn’t going to be easy.

On top of all that, Amy’s father Fergus (John Lithgow, with one of the worst Australian accents I’ve ever heard in a film) wants to reconnect with his estranged daughter, and has followed her to Europe in hopes of winning her back.

The screenplay, by Kay Cannon and Mike White, is actually quite clever. There are plenty of twists and turns to keep you guessing right up to the end. The characters are just the same as they have been in the previous two films, and still as funny as ever. In particular, I love the banter between John and Gail, which is certainly some of the film’s funniest dialogue.

John (John Michael Higgins) and Gail (Elizabeth Banks).

The film does have a very small amount of original music, written by composer Christophe Lennertz. The majority of the music in the film is of course the musical numbers and performances by the Bellas, and to a small extent, the other bands featured in this third instalment. As far as the Bellas’ music goes, these are vocal arrangements of existing popular songs, and these arrangements are absolutely fabulous. Of course, they come to life when performed by the cast, all of whom have incredible singing voices, and harmonise together very well.

The performances of the cast are, for the most part, brilliant. This is perhaps to be expected by this point, as most of the cast have been playing their characters through three films now. As mentioned above, John Lithgow’s Australian accent leaves a lot to be desired (it’s not as bad as Meryl Streep’s, but it’s not much better, either).

The standout performances would have to be those of Kendrick and Wilson, who also by now, have such a good rapport with each other, and complement each other in such a brilliantly comedic way.

Fergus (John Lithgow).

There is plenty of comedy in this film, but there is also plenty of drama, and mild thriller elements, too. Of course, the true star of the film is the music, both in the skill of the arrangements, and the skill of the performers.

Director Trish Sie has made an incredibly entertaining film. While this film may be the perfect conclusion to the trilogy, it is not - at least in my opinion - the best film of the trilogy (that honour goes to the second film). It is a shame that there won’t be another Pitch Perfect film, but if this is how it had to end, I for one am satisfied with the direction it took.

If you haven’t seen it yet, definitely give it a chance. I’d advise you to watch the first two films first, just so you know who everybody is.

7 out of 10.

Late Night (2019)

Katherine Newbury (Emma Thompson) has been hosting a late night talk show in the United States for twenty-eight years, and considers herself to be at the top of her game.

The network executives think otherwise, however, and are hoping to replace her at the end of the season with loudmouthed, brash stand-up comic Daniel Tennant (Ike Barinholtz), whose comedy is absolute anathema to Katherine.

She has a very difficult personality, though, and no one seems to be able to stand up to her, or change her mind on anything. No one, that is, except her long-suffering husband Walter Lovell (John Lithgow), who was diagnosed with Parkinson's disease some years earlier.

Molly Patel (Mindy Kaling).

In order to shake things up a bit in the writing room, the network hires young single (Indian) woman Molly Patel (Mindy Kaling), who has never worked in television before, but seems to have a knack for writing comedy.

Despite the fact that none of the writing staff like her - especially head writer Tom Campbell (Reid Scott) - Molly somehow manages to make something of herself, and even begin to turn the show around.

All of a sudden, Katherine is likeable again, and she starts to believe (and hope) that perhaps she won't be replaced after all; she feels like without the show, she has nothing anymore, especially with the rapidly declining health of her husband.

Katherine Newbury (Emma Thompson) and Walter Lovell (John Lithgow).

The screenplay, written by Mindy Kaling, is absolutely hilarious. Her knack for comedy is clear throughout, but there is also a healthy amount of drama and pathos present in the script. There are enough twists and turns - not too many, mind you, this is not that kind of film - to keep the audience interested, and the characters are all very clearly defined.

The performances of the cast are also good, with the clear standouts being Thompson and Kaling. John Lithgow also shines in his role, though he doesn't have an awful lot of screen time. He manages to tread an interesting balance between comedy and drama, bringing his many years of experience into play.

Daniel Tennant (Ike Barinholtz).

There really isn't much else to say about this film, other than to recommend it to fans of comedy, especially fans of Mindy Kaling's previous work, particularly on The Mindy Project, and to a certain extent, the US version of The Office.

Director Nisha Ganatra has made a very enjoyable film here, one that I'm sure will delight audiences. The film may not have a lot of 'meat' to it, but it is an enjoyable way to spend ninety minutes.

7 out of 10.

Pet Sematary (2019)

Stephen King's classic novel gets a big screen remake (the original film was made back in 1989, and was actually pretty good back then). In fact, the original still holds it own in the horror/thriller genre; I guess this just brings it to a new generation of moviegoers.

Louis (Jason Clarke), his wife Rachel (Amy Seimetz) and their two children Ellie (Jeté Laurence) and Gage (twins Hugo and Lucas Lavoie) have just moved to the town of Ludlow, Maine from Boston, hoping for a quieter life.

While wandering through the woods behind their house, Ellie stumbles on a graveyard, with a sign that reads ‘Pet Sematary'. She meets their older, retired neighbour Jud (John Lithgow) who tells her that this is the place where for generations children have buried their pets who have passed away.

When their family cat is hit by a truck, in order to protect Ellie from the truth, Louis buries it in the Pet Sematary.

But when the cat returns, looking a little different and behaving extremely differently, Louis learns from Jud that the Pet Sematary has powers that can bring back the dead. Whether or not it is a good idea remains to be seen. (Hint: It probably isn't).

The script by Jeff Buhler differs significantly from both the novel and the original 1989 film, particularly in the second half of the film. In actual fact, however, this is a good thing. Considering how many times I had read the novel, and seen the original film, I found that I was able to be surprised by the events of this version in a way I had not been expecting.

Laurie Rose's cinematography is a masterclass in how to shoot a film, and how to use both light and shadow to their full effect.

The score, by Christopher Young, is absolutely chilling throughout. It begins pleasantly enough as the family first drive into town and see their new house, but turns on a dime the moment Ellie goes into the woods for the first time, and doesn't let up once after that. The music is never overused or overdone, but when it is used, it is done incredibly well.

The performances of the entire cast are exquisite, with particular congratulations going to Jason Clarke and Jeté Laurence, whose young age has no bearing on her acting ability; she really is in her element here. I look forward to seeing just what she does next; she will definitely be one to look out for.

John Lithgow too is fantastic as the neighbour, portraying his role with a subtlety than can only be developed over a long career such as his.

Directors Kevin Kölsch and Dennis Widmyer have outdone themselves here, and brought us a film that despite being a remake, still has plenty to shock and surprise.

8 1/2 out of 10.

Shrek (2001)

Shrek (Mike Myers) is a big, green ogre who lives in a swamp. He is very happy in his swamp, primarily because he lives there by himself, just the way he likes it.

But one morning, he wakes up to find his swamp is now inhabited by a whole bunch of fairytale characters, who have all been evicted from their own homes by the evil, diminutive Lord Farquaad (John Lithgow).

Furious at his personal space being invaded, Shrek sets off to confront Lord Farquaad, and on the way, meets up with a talking donkey (Eddie Murphy). Unfortunately for Shrek, Donkey decides he is going to tag along. Even more unfortunately for Shrek, Donkey never shuts up.

When they find Lord Farquaad, he tells Shrek he will return his swamp to its original uninhabited state if he frees the beautiful Princess Fiona (Cameron Diaz) from the clutches of a dragon, so that he can marry her. Shrek agrees, and a great quest ensues.

The screenplay, written by Ted Elliott & Terry Rossio and Joe Stillman & Roger S. H. Schulman is adapted from a book by William Steig. I haven’t read the book, but I would probably be keen to do so; I am curious as to how much of the story and characters actually originated from Steig’s book, and how much is the creation of the screenwriters.

It is a very clever script, filled with countless references to all the various fairytales the characters of the film originate from. I can still remember the very first time I saw this film, sitting on a couch in Hamilton, New Zealand back in 2002. I loved it then, and I still love it now.

Director Andrew Adamson (with co-director Vicky Jenson), who would go on to direct the Chronicles of Narnia films, has made an immensely enjoyable film. There is so much here for young viewers to enjoy, but the real success here is that adult viewers can enjoy it just as much, if not more.

The quality of the animation is exceptional, and the entire voice cast are brilliant. The endless back-and-forth banter between Shrek and Donkey is hilarious; it is impossible to imagine Donkey being voiced by anyone else than Eddie Murphy, his tone and intonation is just so perfect for the role.

There are some big surprises in the later parts of the film (maybe not as much of a surprise now, especially for those who have seen any one of the film’s three sequels; stay tuned for reviews of those coming in the near future), but more importantly, there are some very good messages in here for parents and children to discuss together after watching it.

There isn’t much more to say about this film, except to encourage you to watch it, either for the first time (seriously, where have you been?) or for a second or more time; you notice more and more each time, and it really is brilliant.

9 out of 10.