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(Release Info London schedule; November 8th, 2019, Vue Cinemas, 3 Cranbourn St, Leicester Square, London WC2H 7AL, UK, 20:15 pm) https://www.myvue.com/film/midway "Midway" The story of 'The Battle Of Midway', told through the experiences of the 'WWII' leaders and sailors who fought it. The film starts from 'The Japanese' perspective. It introduces you to a world of culture, honor, and respect. We've an industrial tone for the scenes with 'The American' characters, and then this old world, a more traditional view that you can see in the richness of the colors of 'The Japanese' ships. They've a lot of wood components. Even on the bridge they've real cabinetry. It makes for a lot of brass and mahogany, and warmth, right down to the white gloves worn by the officers. It’s about the beauty of their ships. The Americans didn’t think about their ships as being beautiful, that way. It begins in December 1941 with 'Pearl Harbor' and ends in June with 'The Battle Of Midway'. It's the most dramatic six months in the history of warfare. "Midway" envisions a fresh look at this pivotal battle told for a new generation, with characters who share powerful bonds. The film follows three story lines, depicting three interwoven perspectives on the battle. “One is the pilots aboard the aircraft carrier 'USS Enterprise', mainly Dick Best (Ed Skrein), Clarence Dickinson (Luke Kleintank), and Bruno Gaido (Nick Jonas), who are historical figures. A second storyline follows the critical work of 'Naval Intelligence' officer Edwin Layton (Patrick Wilson); a code breaker, Joseph Rochefort (Brennan Brown); and Admiral Chester W. Nimitz (Woody Harrelson) in 'Pearl Harbor'. The third storyline centers on 'The Japanese' officers, Admiral Isoroku Yamamoto (Etsushi Toyokawa), and Japanese officers Tamon Yamaguchi (Tadanobu Asano), Kaku Tomeo (Nobuya Shimamoto) and Chūichi Nagumo (Jun Kunimura), who are historical characters, as well. Dick Best is the unsung hero of "Midway", a tough-as-nails Jersey guy, and a 'Navy' flyboy working his way up the chain of command as 'WWII' unfolds. A natural leader despite a tendency to get short with guys who aren’t as daring as he's, Best is a risk-taker whose flying skills are first rate; he's the one to fly with if you want to come back. Best is a true American hero whose exemplary performance, both leading his men and courageously flying his plane during 'The Midway' battle, resulted directly in turning the tide of war. There’s a real emotional journey for Best. You see several versions of Best throughout the story. First, there’s the cocky guy who turns off his plane’s engine to prove to himself he knows how to land without it. After 'Pearl Harbor', you see the relentless Best, who’s on a one-man mission to win the war. During the war, Best loses some pilot friends, which begins a dark night of the soul for Best, and we see him at his absolute lowest. Best only opens up to two people: his wife, Ann (Mandy Moore), daughter Barbara (Sarah Bublavy), and his closest friend, Clarence Dickinson. They help him overcome his losses and we ultimately see a Best with all of his old qualities and emotional literacy and intelligence. He's a true leader of his men. Dick Best has been overlooked, in a way. He's a humble guy, and Midway is his last battle because of an injury sustained while flying. In this story, Best stands for all those unsung heroes who fought for our freedom. What happened at 'The Battle Of Midway' changed the world, but this story is also rooted in a man whose strength and lifeline is his family. Edwin Layton is a 'Lieutenant Commander' in 'The U.S. Navy', whose job is interpreting intelligence information for military strategy. Layton works closely with Admiral Nimitz and a group of brilliant decoders, and soon discovers that 'The Japanese' are planning an offensive on 'Midway Island'. Though Admiral Nimitz, who commands 'Allied Air, Land And Sea Forces' during 'WWII', has received contradictory intel from 'The White House', Layton is willing to bet his life, and the lives of countless sailors and aviators that his Midway intelligence is correct. A man who takes his work to heart, Layton spends many long days and sleepless nights in the service of his country. Edwin Layton is an extremely accomplished intelligence officer in 'The United States Navy' who happened to have served in Japan, and is fluent in 'The Japanese' language. During 'Pearl Harbor', he's the lead intelligence officer assigned to the commander. He describes the weight that fell upon his shoulders after that intelligence failure and how he feels this obligation to try to make up for what has happened. Like many who work in 'Intelligence', he's very analytical. When you’re talking about 'Military Intelligence' in the 1930s, and eventually the ‘40s, they're many people who didn’t quite understand it because it's all so new. If you work in 'Intelligence', you're different from the average soldier or seaman. He knows exactly what he's saying, when he converses with Admiral Yamamoto, as he does early in the film. There’s not only a strength but also a globalist point of view when you've someone that’s stationed there that can speak with Yamamoto in his native tongue, knowing that Yamamoto speaks English. Admiral Chester W. Nimitz is given the position of 'Commander In Chief Pacific Ocean Areas', after 'Pearl Harbor', which a fellow officer calls, the most difficult job in the world. As Nimitz faces the entrance of 'The U.S.' into 'World War II', with fronts in Europe and 'The Pacific', he enlists the help of intelligence officer Edwin Layton to provide him with information so he can throw a punch to 'The Japanese' to let them know what it feels like to be hit. Nimitz winds up working closely with Layton, and despite pushback from 'The White House', Nimitz takes a chance on Layton’s intel regarding 'Midway Island', a seminal battle that changed the course of 'World War II'. Nimitz is an amazing figure in military history. He's a man who, at the beginning of 'The Second World War', is coming to a natural end of his career. But after 'Pearl Harbor', 'The Navy' realized they needed someone who could go out there, reinvigorate everyone and make them realize we can win this war. Nimitz is also an incredibly tough man. Notoriously, once when he's giving a tour of a submarine he gestured and a piece of equipment caught his thumb and tore part of it off. He insistes on finishing the tour before seeking medical attention. There’s this iron Texan core to Nimitz that makes him the perfect guy to rebuild a shattered Navy after 'Pearl Harbor'. After 'Pearl Harbour', there's a lot of pressure on 'The United States' to rebuild these ships quickly, and do what they could to become a power. Admiral Nimitz is the right man for the job. He's a relentless, hard-working, and thoughtful guy who makes critical decisions that changed the course the war. Wade McClusky is a courageous and tenacious risk-taker, who's in charge of the torpedo and dive bomber pilots on board 'The USS Enterprise'. McClusky briefs the men on their missions, giving them intel on what to expect from 'The Japanese' forces. In the cockpit, McClusky takes big chances that could either pay off, or land him scrubbing potatoes at Leavenworth. McClusky is an outstanding 'Lieutenant Commander' and a true hero who's fully prepared to go back into battle, despite sustaining an injury, until his commanding officer orders him to sick bay. Through his intelligence, courage, and sheer luck, McClusky makes a vital contribution to the victory at Midway. McClusky is a squadron commander and a gifted pilot. He decides, on a hunch, to turn and follow this Japanese destroyer that ends up heading back to the main fleet. If he has simply followed the route he's supposed to fly, the history of 'The Pacific War' would have been very different. McClusky is a little older than the pilots he’s in charge of. He’s been around longer and experienced much more than they've, and he leads by example. What McClusky does in a pivotal moment in 'The Battle Of Midway' makes him one of the heroes of the war. McClusky and his closest friend, Dick Best, find common ground through losing friends and understanding what the other is going through. As much as "Midway" is a film with huge set pieces and big airborne battles, it’s also about a brotherhood and the union of these pilots risking their lives on a daily basis. Courageous, resourceful, respected and beloved by his men, Jimmy Doolittle (Aaron Eckhart) is the leader of an Army bomber squadron. Admiral Halsey (Dennis Quaid) thinks Doolittle may be the best goddamned pilot in the world. Doolittle is planning a mission to attack Japan, which would be a huge psychological blow to the enemy forces, because 'The Japanese' believed their defenses are impregnable. Blown off-course mid-flight, Doolittle winds up bailing over China. Fearing his entire squadron has been lost, he makes his way through the countryside until he’s welcomed by a 'Chinese Major'. Doolittle is a daredevil and like many daredevils, he likes to push all kinds of boundaries. 'The Doolittle' raid is, militarily, not particularly successful. A handful of bombs are dropped but, strategically, it's of massive importance because 'The Japanese' high command has promised both the people and 'The Emperor' that it's impossible to attack Japan. This assault by Doolittle’s 'B-25' bombers proved that they're either incorrect or lying. It's a huge embarrassment that led 'The Japanese' military to decide that 'The United States' carrier fleet has to be neutralized as soon as possible, which led them into 'The Midway Operation'. Also, it's important from a psychological standpoint, both in making America feel like it has finally struck back on some level, and 'The Japanese' people realizing that it's high command is not infallible. Doolittle and his men knew they wouldn’t have the necessary fuel to return to the carrier. There are '72 Doolittle Raiders' and they all agreed to go on the mission, despite the incredible odds against it's success. Some of them ended up in the sea, many of them crashed, and some died. One team ended up in Russia and has to make it's way back. When 'The Chinese Military' finds out who 'The Doolittle' bombers are after they've crashed, and the mission they've just accomplished, they treated them like kings. They shepherded many of them through China, and then eventually back to 'The United States' Ann Best is extremely proud of her husband, and is an equal match for her husband’s brains and fiery personality. She’s also the one with whom he lets down his guard, and shows some vulnerability. Ann joins the other stoic, but worried, Navy wives when their husbands go off on the Midway mission. She’s strong and courageous. They've a young daughter and Ann is determined to keep her family together at a time when many husbands are encouraging their families to move away from the warfront. Ann and Dick are real partners in their relationship. There’s a deep mutual appreciation, and affection for one another. You’re not just seeing the heroics of these men. You’re getting a slice of their home life, with their families and wives, and a better understanding of what they’re fighting for and what’s at stake. Admiral William Halsey commands 'The USS Enterprise', an aircraft carrier stationed in 'Pearl Harbor'. As Halsey deals with the aftermath of 'The Pearl Harbor' attack and the encroachment of 'The Japanese' in 'The Pacific', he’s faced with the challenge of 'The U.S.' forces being outnumbered by Japan. He’s a stalwart leader who’s not afraid to do what’s necessary to get his best men in to do the job that’s required. Although Halsey is ill, he insists on continuing to work, until he’s ordered into the hospital by Nimitz. Halsey is no fan of 'The Army' brass and is known for taking matters into his own hands. He has his own style, and is brash. But his connection with his men makes him a great leader, particularly of so many inexperienced and young men, some of whom are little more than boys. They look at Halsey as a father figure who's going to get them through this. Bruno Gaido, a Naval radioman, is extremely brave, and very confident about it. He catches the attention of Admiral Halsey through an act of astonishing courage on a carrier, prompting Halsey to promote him immediately. During 'The Battle Of Midway', Gaido is forces to bail from his plane and winds up on the deck of a Japanese destroyer. Lieutenant Clarence Dickinson is a courageous, highly skilled dive bomber pilot, who almost died during 'The Pearl Harbor' attack but lives to fight another day. He’s a good friend of Dick Best, with whom he flies in formation. Though Best is frustrated with his own lack of advancement, Dickinson understands what’s holding Best back from being in command; an obsessive pursuit of perfection from himself and everyone around him. A seasoned pilot who doesn't like the odds of the upcoming Midway mission, Dickinson proves to be as fearless, focused, and effective as any hero of 'WWII'. The commander of the fighter plane 'Torpedo Six', Eugene Lindsey (Darren Criss) is Dick Best's superior officer, and he doesn't appreciate Best’s annoying habit of criticizing his pilots for being too slow, and challenging orders mid-operation. But Lindsey is a courageous officer who earns Best's respect by leading his squadron, despite being injured in combat. Lindsey did several tours and is stationed in various places in 'The United States'. He did a post-graduate degree in aeronautical engineering at 'MIT', when he was in his 30s. By the time we meet Lindsey in this film, he has a pretty storied life of being a man of the sea and a pilot. That kind of courage is pretty extraordinary and inspired a lot of these men at this point in the war. They're fueled by this very raw sense of retribution that needed to be gained after something as devastating as 'Pearl Harbor' James Murray’s (Keean Johnson) laconic North Carolina drawl frequently belies the terror he feels flying as Dick Best’s radioman. Murray doesn't have the same damn the torpedoes mentality as Best; he's frequently worn to a frazzle flying with the relentlessly risk-taking pilot. But Murray perseveres to fly with him because he knows that with Best’s skills in the cockpit, he has the greatest chance of making it home. As 'The Battle Of Midway' progresses, Murray's nerves go to pieces, and he asks Best to turn back. Exhausted and demoralized by the thought of going once more into battle, Murray receives an honest pep talk from Best, igniting his own heroism. Murray is Dick Best’s rear gunner and radioman. He’s juggling two jobs at the same time while being shot at by Japanese planes. Murray basically shoots at the enemy pilots and gives Dick Best the information he needs to safely find and destroy oncoming aircraft carriers and get home safely. He’s not into being a daredevil. Murray wants to do exactly what’s in the rulebook and stick to that. Murray’s an introvert and just wants to do his job. He’s not looking to win a medal, he’s just looking to do his time, to fight for this cause but not sacrifice himself. In the end he learns that he actually would die for his country and sees many of his friends perish. He definitely learns not to take it for granted. "Midway" is a true epic and it’s told at a certain level of scope that’s now become common in superhero and science fiction films. The film centers on 'The Battle Of Midway', a clash between 'The American' fleet and 'The Imperial Japanese Navy' which marked a pivotal turning point in 'The Pacific Theatre' during 'WWII'. The film, based on the real-life events of this heroic feat, tells the story of the leaders and sailors who used their instincts, fortitude and bravery to overcome the odds. It’s a real-life story of brotherhood and camaraderie, and the determination and sacrifice of real-life military heroes, to secure an American victory. Having been decimated by 'The Japanese' attack on 'Pearl Harbor' only six months earlier, 'The U.S. Navy' is desperately outmanned and outgunned heading into 'The Battle Of Midway'. 'The U.S.' military held on to one great advantage; it's intelligence operations and collective grit, are strongly underestimated. The film takes audiences deep inside the complex decision, making of 'The United States’ tactical command, and then straps them inside a bomber cockpit to experience the most visceral on-screen telling, of the greatest battle in 'U.S.' warfare history. These men faced down tyranny and fascism with their very own lives, strapped into planes known to be inferior to those of their enemies. "Midway" is the event that transformed the war in 'The Pacific', basically preserving democracy and freedom in 'The U.S.' and 'The Western World'. Because of them we live in a free world today. True life can sometimes be the most powerful storyteller. Young people today don’t always know the stories about those who fought for their freedom. That without the generation who fought in 'WWII', our world would be very different. There's a lot of hardship and a lot of people died for it, but they died for a reason. There's a real fight against fascism going on in the world. Today we sometimes forget about these things, but movies can serve as a vivid monument to them. "Midway" is an homage to all the sailors who lost their lives at Midway, both American and Japanese. The film honors that fight and those who gave so much. The scope of it and the changes that happened over the six-month period between 'Pearl Harbor' and Midway are some of the most compelling events in history. What really moved is the willingness, and the spirit, behind those who suffered from the attack on 'Pearl Harbor'. You can even see allusions of 'Independence Day' in this film. But most of all, it’s about the fight against an idea that's starting to consume the world at the time. Unlike science fiction, however, "Midway" is firmly based in historical facts, which reveal themselves throughout the course of the film. The film discovers this wave of new scholarship, where 'The Japanese' side of the story is finally being told in English. 'The Japanese' in this story are just as brave as 'The Americans', although with far more tragic outcomes. Politicians start wars, but never fight them. It’s the common soldier who ultimately pays the price. It's important to show how the Japanese fought as honorably as 'The Americans' in 'The Battle Of Midway'. That points to the film’s themes of loyalty, brotherhood, sacrifice and bravery, all of which transcend generations. "Midway" will transport audiences back in time. It shows an America that's not a superpower, and which has just come out of 'The Great Depression'. The country initially tries to stay out of a war but 'Pearl Harbor' changed all that. It's a simpler time, but it also is a time where you've to put your life in danger for ideals. This film isn’t just a tribute to the actions of the people who served in 'The Second World War', but also to the people who continue to put their lives on the line defending us. It looks back at a moment where there was a sense of patriotism and national unity, an understanding of our shared common values, why that’s special, and how, when we pull together, we can achieve something remarkable in the face of impossible odds. It’s a lesson for all of us about uniting in spite of our differences.

Robert Aldrich directs this multi-Oscar-nominated psychological thriller about a Southern belle who, plagued by a horrifying family secret, descends into madness when a lost relative suddenly shows up. Director Robert Aldrich had make the first successful ‘women’s picture’ for a hugely long time with the very enjoyable and unexpected success What Ever Happened to Baby Jane? two years earlier, starring Bette Davis and Joan Crawford in their most memorable roles. Aldrich had wanted to get the two actress, who were very bitter to each other, to get them to work on another film together using the very similar themes that he used for What Ever Happened to Baby Jane?, but it wasn’t going to be an easy task, as Hush…Hush Sweet Charlotte encountered a troubled pre-production and also encountered trouble during the filming of the picture. But the arguments between Davis and Crawford had started way before pre-production had got underway. Bette Davis initially was not interested in signing on to this project and she even ordered the director to change the title of the film (it was originally called What Ever Happened to Cousin Charlotte). She was also absolutely furious at Crawford for her making a campaign to let Davis not win the Academy Award for Best Actress for What Ever Happened to Baby Jane, which she was nominated for (Anne Bancroft ended up winning for her superb performance in The Miracle Worker). Bette Davis accepted the role of Charlotte when Aldrich let her be the producer of the movie, so he got that side of the story sorted out. Crawford had signed on to play the role of Miriam, Charlotte’s cousin. However, she was furious that Davis had given role of the producer and she made her feelings very clear to the director. To make the situation worse for her, during the filming of this movie, Crawford faked an illness that forced Aldrich to fire her from the project and heard via radio that she had ended up being replaced by Olivia de Havilland. Crawford was absolutely upset about this and when she heard the news, her career was effectively ended. The details of how these events happened are depicted in the very enjoyable television series Feud: Bette and Joan, with Susan Sarandon as Davis and Jessica Lange as Crawford. Eventually, Hush…Hush Sweet Charlotte was released in 1964 and ended up being another hit film for Robert Aldrich – and it is a very good reason as well. Adapted from the short story What Ever Happened to Cousin Charlotte, the story concerns Charlotte (Bette Davis), a southern belle who, in 1924, on the night that they were meant to get married, found her lover killed during a party and the blood on her outfit makes everyone think that she committed the awful act. Now, 40 years later, Charlotte is an old outsider and she has to fight to keep her home. She gets her cousin Miriam (Olivia de Havilland) to help her, but soon after Miriam arrives, Charlotte’s mind begins to get unstable – and she descends into madness and violence – demanding that she just gets everything that she wants. Bette Davis (in her final collaboration with Robert Aldrich) gives a very good performance in her role as the title character Charlotte and she suits the role very well, acting at her superb, nasty best and also allowing the audience to let her know that when she is angry, she properly means it (Aldrich’s excellent direction allows the facial expressions to be seen to a very strong effect throughout). Davis also gave a very good performance in a double role playing twins in Dead Ringer, so 1964 would be an excellent cinematic year for her. Olivia de Havilland (who became good friends with Davis and described working with her as ‘highly professional’) is very good in her role as Miriam, a poor cousin who lived with the family as a girl, but since moved to New York City and became very rich herself. Although this isn’t the most memorable performance of de Havilland’s career, it is definitely not the worst, but I can describe it as the most dramatic and best performance that she gave where she was not nominated for any major awards. Joseph Cotten is good in his role as Drew Bayliss, a doctor who rebuilds his relationship with Miriam following the murder, while there is very solid support to be had from Agnes Moorhead in her role as Velma, the housekeeper of Charlotte’s house and she suits the role very well, acting like she wants to help out as much as possible. In her final role, Mary Astor (in her second collaboration with Davis following The Great Lie, which won Astor the Academy Award for Best Supporting Actress) is good in her role as Jewel, a not-very-well widow whose husband was murdered. Cecil Kellaway is good as Mr. Willis, an insurance man who investigates the murder of Charlotte’s husband John, while Victor Buono (in his second collaboration with Aldrich and Davis) is good in his supporting role as Big Sam Hollis. So, you can definitely say that Hush…Hush Sweet Charlotte definitely appeals thanks to having a star-studded cast and they certainly do not disappoint in their respective roles. The direction from Aldrich is excellent because not only does he allow the facial expressions to be seen to a strong effect throughout on all the cast, but also keeps a tense atmosphere happening throughout, particularly with the dramatic moments and scenes that involve Bette Davis, while the script is written to a very decent standard by Henry Farrell and Lukas Heller as they make the film easy to follow. The technical elements of the film are very impressive, with the set, cinematography, music, costume and editing all standing out best in glorious black-and-white – the set is very decent to look at throughout at all times; the camera makes very good use of the locations the movie uses, captures the facial expressions very well and also captures the tense moments well, which definitely gets the edge-of-the-seat status; the music is very enjoyable to listen to and the dramatic score with the tense moments helps keeping you gripped; the costumes are excellently designed by Norma Koch; the film is edited to a very decent standard. The title song Hush…Hush Sweet Charlotte is very enjoyable to listen to. However, what is the single and most annoying thing about the film is the pace – it can only just be a little slow at times – it would have been better if there just a couple more moments of tension throughout. In terms of the major awards, the movie managed to win 7 Academy Award nominations: Best Supporting Actress (Agnes Moorhead), Best Art Direction (Black-and-White), Best Cinematography (Black-and-White), Best Costume Design (Black-and-White), Best Film Editing, Best Music, Substantially Original Score and Best Original Song (Hush…Hush Sweet Charlotte). It didn’t win any of those awards, but the nominations were definitely deserved. Agnes Moorhead did manage to win the Golden Globe for Best Supporting Actress. At least the movie won something rather than absolutely nothing. It’s a shame that the Golden Globes don’t do technical categories anymore, because if they did, I am sure this film would have got nominations for its set, cinematography, costume and music from The Hollywood Foreign Press Association. Overall, Hush…Hush Sweet Charlotte is one very enjoyable adaptation of the short story What Ever Happened to Cousin Charlotte, thanks to the very good performances from the star-studded cast, along with Robert Aldrich’s excellent direction, the well written script, the tense atmosphere and superb technical elements. The only criticism is just the small but sometimes slow pace. ★ ★ ★ ★

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I'll tell you what I don't want for Christmas, I don't want to watch petulant men-children running around in a tatty and wholly un-funny film that's simply a regurgitated version of its equally mediocre predecessor. Lately it seems that Hollywood has forgotten its knack for comedy Christmas films; having sat through both Daddy's Home 2 and the new Bad Moms instalment I can conclude that such sequels are not worthy of being filmed let alone shown to the public. This confusing and utterly predictable rendition of a domestic comedy, featuring blended families, proves to stand amongst the many Christmas films of the year that certainly didn’t fill me with any form of Christmas joy. Instead I'm left with a disappointed and thoroughly disillusioned view; Daddy's Home 2 produces  as much fun and amusement as a rotting reindeer carcass. The film follows the lives of Dusty aka Mr Macho muscle man (Mark Wahlberg) and the annoyingly innocent Brad (Will Ferrell) in their quest to placate their wooden and equally brattish children/step children with the best Christmas ever. Unfortunately for them, they are joined by their identical fathers (Mel Gibson and John Lithgow) who, throughout the film, serve to be nothing more than a predictable plot device and the older stereotypes of their sons, oh, as well as their "kissing partners".Don’t ask it’s not funny anyway. Almost every interaction held between Ferrell and his sexier counterpart, Wahlberg, consisted of simple yet boring back and forth dialogue that became  tedious twenty minutes into the runtime. At one point, they even spend five minutes talking about the temperature of a thermostat, what on God’s earth is funny about a thermostat? This is followed by Will Ferrell getting emotionally and physically abused in some way or another by a medley of festive trappings; be they a snowball, a Christmas sleigh, a falling  plastic reindeer or even an Electric Christmas tree. Ferrell, much like the audience, just can’t seem to catch a break from such drivel. Paired with Gibson’s annoying laugh and Lithgow’s over-indulgent and equally sickly parenting and we have the makings of what seems to be a lesson in how-not-to-be-a-bad-parent rather than that of a Christmas comedy. Wooden acting by both wives throughout the film (Linda Cardellini and Alessandra Ambrosio) certainly doesn’t add the quality or direction  the picture so desperately needed. Instead, we are treated to even more examples of parental misconduct when children are found drunk in a nativity and/or kissing step-sisters: the subject of further corniness and below-the-belt funniness that just wasn’t necessary. Aside from the typical whininess and brash natures that one has now come to expect from Ferrell and Wahlberg characters the film still attempts to lend itself to comedy. Some moments were actually funny however they're underpinned by repetitive scenes, monotonous dialogue and simply over-exaggerated characters. It's therefore no surprise this collection of formulaic scenes disintegrates into the tatty and naturally unfunny Christmas mess that is Daddy's Home 2. The idea of even casting Mel Gibson in a comedy produces just as much toxicity as that of a Christmas Nuclear fall-out. Verdict: A boring regurgitation of what was already a half-hearted comedy the first time around. Dividing laughter, doubling fathers... who said Hollywood’s Christmas formula was broken?

Watching Gus van Sant’s remake of the Hitchcock classic, I was reminded of a perfectly-timed observation my sister once made when we were watching the original one lazy Sunday afternoon. She suggested that when Marion Crane undresses to have her fateful shower, Hitchcock should have cut to a shot of her removing pink puffy rabbit-shaped slippers before slipping under the cold, murderous water courtesy of the Bates Motel and its sweet attendant, Norman. It was such a hilariously random observation that I remember bursting into hysterics with her as we imagined those pink rabbity slippers being thrashed to shreds and soaked to bursting point in their owner’s blood. Indeed, I still wonder to this day what my mother must have thought when she came into the living-room to discover her two eldest children laughing and pointing hysterically at the onscreen death of a poor, unfortunate Hollywood heart-throb. “We all go a little mad sometimes. Haven’t you?” Gus van Sant’s remake is like a pink puffy rabbit-shaped slipper clinging desperately to the sweat and excess blood of the chilling original: he should have considered that not even Hitchcock can remake Hitchcock. His almost shot-for-shot colour rendition has so many inconsistencies and bizarre details that it is very hard to take Gus van Sant’s efforts seriously. I strongly doubt if that were even his intention For a start, the casting is spectacularly wrong. Van Sant uses capable actors in roles that they either seem too uncomfortable or too mismatched (or simply too bored) to take to interesting levels. Why cast an actor as strange and versatile as Viggo Mortensen as Sam Loomis in a role that, to be fair, requires about as much acting as a piece of wet wood? In the original, John Gavin played Marion’s dim boyfriend as solid but also as thick as oak: here, Mortensen acts like the singing bush in The Three Amigos! He is strange, quivering, drawls Cowboy slang and has a rather irritating habit of raising his voice at the end of sentences, as if it will break into high-pitched song-and-dance at the most unexpected moments. Anne Heche seems bored and irritable as Marion Crane, who played by Janet Leigh seemed so sweet, self-effacing and genuinely nice (except when she was stealing money from her boss’s rich clients, who it must be said clearly seemed to deserve it). In her scenes, Heche exudes about as much sympathy as a smiling shark to a baby seal. This might have been an interesting trajectory for van Sant to pursue, since Heche’s Marion seems more ruthless and self-motivated than her black-and-white counterpart, and would therefore seem more likely to steal the $40k just for the sheer fun of it, rather than for ulterior motives. Yet since van Sant so doggedly pursues the structure of the Hitchcock original, which was purposefully built to induce our sympathy for guilt-ridden Marion Crane, Anne Heche is unable to develop her character in convincing ways. Her irritability and sharpness seems out-of-synch with the rest of the picture. I feel that if Julianne Moore (as Marion’s sister Lila) had swapped roles with Heche, perhaps the film could have improved. Likewise, if Mortensen had traded places with Vince Vaughn as Norman Bates, perhaps some credible chemistry could have arisen between these performers. Even the smaller roles are miscast, although I would say that van Sant achieves some kind of closeness to the original through the casting of James Remar, who makes an excellent highway patrolman. Even if the casting were perfect however, the film’s production design is a very odd mix from start to finish. In such details as Marion’s fluorescent-green underwear, Sam Loomis’ 10-gallon hat and the overly-bright motel surroundings, van Sant demonstrates a profound lack of understatement that made the original so compelling. Even in the beginning when Hitchcock cuts to a shot of Marion’s cheese sandwiches drying in the Arizona heat, there is a gritty and sexually charged atmosphere (to the scene, not the sandwiches!) that recalls the tense social realist films of the late 1950s. Working on a shoe-string budget with his TV crew, Hitchcock created a cramped intimacy and claustrophobia to the early scenes in Psycho that really made Marion and Sam’s afternoon tryst seem urgent and desperate. In the remake however, unsubtle close-ups of buzzing flies and garish wallpaper disrupt the tone, and we are reminded that this film is not about real people, but about actors pretending to be actors pretending to be real people. Like an A-Level student drama production, every aspect of the production—from Danny Elfman’s insistence of setting each moment before a scare with Bernard Hermann’s infamously screeching violins to Amy Duddleston’s editing, which inserts odd shots of thunderstorms and cows in fields at crucial moments in the film—seem to be competing for the spotlight, for the odd audience member to shout out, “Wow! Isn’t that fantastic!” or “He used a 40k lamp there! Genius!” And at the ready of this doomed expedition we have Gus van Sant, a talented filmmaker whose comfort zone until 1998 seemed to be in films dealing with disenfranchised drug addicts and guilt-ridden hipsters on the road to nowhere in particular. Van Sant is very much an actor’s director, and does not usually seem too bothered with the pyrotechnics of his camera, unlike Hitchcock, who was meticulous to the point of being obsessive. It is therefore more shocking that he fails in areas where he might have succeeded, and instead opts for a through-the-motions remake with the occasional bizarre, affected touch or detail that, whilst funny or inventive for the first few minutes, cannot carry the entire film. As van Sant shows Norman Bates masturbating to Marion Crane through his peephole, I could not help thinking that in that one moment I could not see Gus van Sant doing likewise to the original, but ultimately never succeeding to impress, excite… or entertain.

There’s an old adage that says that movie’s are basically empathy generators’; their job is to present you with characters and circumstances that are unfamiliar to you, and would probably never happen to you, and make you connect with them and care about them, within a timeframe of two hours. The greatest movies do this so well that you don’t even notice it, you just find yourself crying with the film, laughing with it, cringing from it, and pumping your fists in the air for it, all because it put in the effort to make you care about the people in it. So, if a movie’s success is measured in how well it makes you care about the lives of the people in it, then “The Big Sick” is one of the most successful movies of 2017, because no other movie made me care, connect, and just plain feel for its characters quite like this wonderful, small, little miracle of a film. “The Big Sick” is based on the real-life romance of Kumail Nanjiani and Emily Gordon. It tells the story of how they met, how they fell for each other, the trials and tribulations they go through, and their eventual reconciliation. It’s a classic romantic comedy plot, filled with all the familiar tropes and beats that one gets used to seeing in this kind of film. But, the movie does something curious; as it unfolds this familiar tale of two young, struggling 20-somethings falling in love, it weaves in a whole host of other stories, the story of a group of young comedians who are helping each other succeed and trying to find their own unique voice, the story of an immigrant family trying to come to terms with its native identity and how it fits in the “melting pot” that is the US, and, most movingly, the story of an older couple that’s facing the prospect of their daughter dying, and the perspective that starts to offer them. Don’t be fooled, “The Big Sick” is a loaded film, deceptively weaving heavy and heady themes into a seemingly simple romance story, but always making sure to anchor that heaviness and thematic weight in the two utterly charming performances from Kumail (playing himself) and Zoe Kazan (subbing in for Emily). However, that’s not to say that “The Big Sick” is a tear jerker, filled with emotional monologues and teary confessions. It is, in fact, a remarkably light film; and most of the film’s most memorable moments come from the expert comedic chops of its cast (and the deft comedic writing of Kumail and Emily, both of whom have worked on some of the best comedy material of the past 10 years). This is a movie made up of small moments, of light conversations and little asides that reveal small but vital details about the characters that make them so relatable, so familiar, so lovable. By the end of the movie, you feel like you’ve known these characters your whole life, like you’ve lived with them, laughed with them, cried with them, shared these significant moments with them. It’s not just Kumail and Emily, it’s Emily’s parents (played by Holly Hunter and Ray Romano, in what would, in any other film, be show-stealing performances), it’s Kumails family (including his father, mother, brother, and sister-in-law), it’s even his fellow struggling comedians who seem to serve as some sort of Greek chorus, always ready with a snarky or smarmy line about Kumail’s current conflict. “The Big Sick” is an oddity in terms of summer theatrical releases, it’s not a multi-million dollar blockbuster, it doesn’t derive its power from powerful world-ending moments of grandeur or from the sheer scope of its filmmaking. This is an intimate film in every sense of the word, a film that derives it’s emotional power from the normal, every day little problems that all of us go through, but in showing it to us through these characters, it gives us just as much emotional catharsis as a thousand apocalyptic epics, and it creates a movie that’ll stay with you long after the credits roll.