Fred Rogers is one of those incredible, iconic figures that lingers in the background of the public conscious – at times, he almost seems less like a person than an embodiment of some higher concept, some divine enigma. There’s no way anyone could ever be Fred Rogers, because Fred Rogers literally isn’t possible in the world we live in. Even during the time he lived in, he was viewed as an eccentric, an anomaly. These days, he’s positively alien.
But Tom Hanks is going to try to recall the man’s presence into his own performance as Fred Rogers in the upcoming biopic A Beautiful Day In The Neighborhood, regardless of how difficult that task will be. The first trailer, released today, is a tantalizing glimpse into a world in which Rogers still lived and breathed, a world so blessed by his presence that people would spontaneously start singing the Mr. Rogers’ Neighborhood theme song on subway trains when they spotted him (something that actually happened in real life). It’s a world where cynical journalists could learn the values of empathy and compassion from the man himself. It’s a world that seems so unreal it might be set in an alternate reality.
And as for Hanks, he’s so very…Hanks…it’s hard to imagine that he is Fred Rogers, no matter how many sweaters and sneakers he goes through: his voice, for one thing, sounds very little like Rogers’, and his face is much younger-looking (casual observation: how is it that Tom Hanks ages but doesn’t get old?). It’s hard to tell from a trailer, too much of which is focused on our cynical journalist and his family dynamics, but Hanks hasn’t yet captured the essence of Fred Rogers, at least for me.
For comparison, here is Fred, the man himself:
theverge.com
And here is Tom Hanks as Fred Rogers, looking oddly plastic:
vulture.com
I mean, appearances are beside the point. Tom Hanks is a great actor, one of the best, and that’s what’s going to make or break this movie. But I’m keeping my expectations to a minimum for the moment.
Last night, I began my coverage of Marvel’s San Diego Comic-Con panel with a brief post about what had been revealed at the Black Widow presentation; there seemed to be very little at first – it was a prequel, Florence Pugh would play Yelena Belova, and the film’s villain would be Taskmaster. And that seemed to be it. Boy, was I wrong.
Since then, there’s been a bunch of interviews with the cast of Black Widow (who are about to head back to London for more filming): a lot has been revealed, and we’re going to have to go over it all. Forget basically everything in my initial post. There’s a lot to talk about now.
The big thing about the film, apparently, is that it’s a drama: what with Black Widow herself being something of a small-scale superhero, it makes sense to focus on finding creative ways to make this film stand out, since, honestly, in a universe where Captain Marvel can punch spaceships out of the sky with her bare hands and Thor can harness the power of a dead star, Black Widow’s skills with a baton just aren’t gonna cut it. Scarlett Johansson has revealed that this film is much more intellectual than other Marvel movies: she gets to “talk more” than ever before, and says that there’s a lot of dialogue. It’s an introspective movie that will explore Black Widow’s mental and emotional state during a very interesting period of her life, when she was a fugitive in between Captain America: Civil War and Avengers: Infinity War. It looks like, during this time, Black Widow is on her own and trying to figure out her purpose in life when her past suddenly catches up with her and takes her on a wild ride back to places she remembers from her youth – the Red Room and Budapest, for example. The Black Widow we see here is someone who’s a little out of her element, and more than a little scared of what’s happening all around her: but we know from Avengers: Endgame that Widow will eventually pull herself back together and find her moral compass once again, only to have to sacrifice everything she’s won to save the world. Prediction: this film will prove, once and for all, that Black Widow is the most tragic character in the entire MCU.
What she finds on her journey will surprise her: first up, we have Florence Pugh’s character, Yelena Belova. We have a few new details on this elusive Russian assassin – she’s got a complicated history with Black Widow. The footage shown to the crowds at Comic-Con depicted Belova first attempting to murder Widow by strangling her with a curtain before sitting down with her to share a drink. Pugh says that Belova is very strong, but is dealing with her own issues – I think we’ll see Belova struggling between sticking with the Red Room that she’s known for her entire life, or leaving to follow Natasha Romanoff, the Black Widow, into the great unknown. It’s becoming more and more likely that Belova chooses to take on the mantle of “Black Widow”, when she learns of Romanoff’s self-sacrifice. Can you imagine how shocked the remaining Avengers will be when Belova arrives and introduces herself as Black Widow?
Now, we have a tidbit of information that has me flabbergasted: there’s no Taskmaster in this movie, apparently. Turns out, the footage shown at Comic-Con did not show the hooded villain as was previously reported – no, the character seen in that footage (footage which has not been released online) was a woman, Melina, who becomes the Iron Maiden character from the comics – the footage apparently showed Melina and Black Widow fighting in the wreckage of a fiery car crash. This character will be portrayed by Rachel Weisz, who says of Melina that she is an embittered woman who has been cycled and recycled through the Red Room program five times already, but had never been able to match the skill and prowess of her antagonist, Black Widow. She also mentioned that Melina is part of some scientific project which she couldn’t describe in any detail.
It looks like these three women will be at the center of the film: just as Captain Marvel explored the power of female friendships, Black Widow will probe deep into even more complex relationships of hatred, fear and resentment, as all three are trying to survive in a dangerous world.
But the two confirmed male characters both have interesting storylines as well – David Harbour confirmed that he is playing Alexei, the Red Guardian, a superhuman character born from Cold War conflicts; basically, the Soviet Union’s answer to Captain America. Considering that the Soviet Union disbanded quite some time ago, it would be interesting if Red Guardian was a relic of bygone days, someone who isn’t quite sure what he’s meant to do in a post-Cold War world: rather like Black Widow herself. Harbour promised that his character is very complex, which sounds awesome.
O.T. Fagbenle, meanwhile, is apparently not playing the villain, as previously speculated: instead, he’s a self-described “fixer” named Mason, who helps Natasha because of his romantic feelings for her. He’s a shady guy, who operates an extensive underworld of secret contacts and is always ready to help out his highest-paying customers by giving them emergency backup. He sounds like an interesting fellow, but we don’t know very much else about him yet.
So, now that we’ve gotten all this additional information; what do you think? Are you excited for Black Widow? Do you like the thought of it being a drama? Share your thoughts in the comments below!
Happy Bastille Day to all my French readers and viewers! I myself am not French nor of French descent (as far as I know, anyway), nor have I ever been to France, and I can’t even speak French.
Why, then, am I dedicating an entire blog post to the French holiday?
Simply because I have recently discovered a gem of a movie, a precious treasure that I have savored, and that must be shared with all of you. This film is The Hundred-Foot Journey, a beautiful film set in the wonderland of picturesque villages, open-air markets and sprawling vineyards and orchards that is rural France. And, parts of it also take place on Bastille Day, so that was all the connection I needed: I had to talk about this film eventually, so this seemed like the most natural place to do so. Allow me to explain why this film is necessary viewing – or, at least, why I feel that it is.
imdb.com
The Hundred-Foot Journey is not a new film: it was released in 2014, had a small but comfortable box-office run, and received mixed reviews. We’ll discuss its problems, but first let’s talk about what makes the film so good, so juicy, so delectable. Let’s discuss why I’m using all these references to taste: the film is a love-letter to the culinary cultures of France and India; two very different cuisines wrapped up together in this bite-sized treat. It follows an Indian family emigrating to France, led by their stubborn patriarch, Papa Kadam (Om Puri), who is trying to set up a restaurant where his extraordinarily talented son Hassan (Manish Dayal) can start a career for himself. But when the family ends up, accidentally, in the small village of Saint-Antonin-Noble-Val, they discover that their presence is unwelcome in the closely-knit community: a rival restaurateur by the name of Madame Mallory (Helen Mirren) quickly makes it her business to make the village as hostile to the family as possible, in an attempt to save her own high-end dining establishment from competition. From there, the plot unfolds. There’s romance, drama, and a dash of light-hearted comedy, but it’s all just seasoning on the beautiful three-course meal that is this movie, or should I say – cinematic cookbook.
Technically, the third course is a little more sour than the first two, but we’ll get to that in a minute. Let’s expand on the metaphor for a moment, and revel in the delights of French and Indian cuisine. I recommend that, if you take my suggestion and watch this film ASAP, you should have a delicious meal of your own prepared. It will make you very hungry, I can assure you of that: a film that can make a sea-urchin look like a mouthwatering morsel has done its job well. So well, in fact, that Hassan Kadam is apparently the third-greatest chef in movie history. From his family’s box of heirloom spices to the beautiful cookbooks lent to Hassan by his on-and-off love interest Marguerite (Charlotte Le Bon), the film is filled with constant reminders of more great meals to come, even when we’re not actually watching those meals being made – which is often. And each meal is different, depending on who’s making it and who’s eating it: we watch Papa and Hassan’s eyes fill with wonder as they are greeted by their first French dinner at Marguerite’s apartment, where the table is laden with some of the most beautiful cheeses you’ve ever seen; we witness the tension in Madame Mallory’s kitchen as she prepares a special meal for the President of France himself; we rejoice in Hassan’s naive first attempt to master the five basic sauces (which, if my sources are correct, are Béchamel, Velouté, Espagnole, Hollandaise and Sauce Tomat). The entire movie is centered around these quiet, intimate moments when the characters eat, with gusto and an almost holy reverence for what they are tasting. It’s the food that makes this movie so enjoyable – the idea that food is so important, so necessary, to people of all walks of life; to culture and community as well. It can bring people to tears as they recall the ghosts of flavors long forgotten, or it can spark passionate romance and thoughtful meditation. Wine, another staple of French cuisine, has a small part in igniting that romance, though it is largely absent from the hundred-foot journey that the Kadams travel.
whatsontv.co.uk
The journey is both physical and spiritual: a journey from one country to another, from one restaurant to another, from one lifestyle to another. Papa Kadam and Madame Mallory’s rival restaurants stand across the road from each other – a road exactly one-hundred feet in width (a fact that is sometimes hard to believe, considering how small the road looks at times). But the two bitter opponents have journeys of self-discovery to travel as well: obviously, I won’t spoil anything that happens in the movie, but there’s a good deal of change and inner turmoil. The rural village is not very accepting of the Indian newcomers, for one thing, and neither party savors the idea of uniting their distinctly separate culinary styles of art.
From a technical standpoint, the film has its fair share of good and bad, like any film. I mentioned that the first two acts of the film (or courses of the meal, if we’d like to extend the metaphor) are the best: the third act isn’t necessarily bad, but it feels very different from the first two – more mainstream, more distanced, more remote. Things are happening on the screen, but we, the audience, no longer feel quite as intimate with the cast (who are all outstanding). I personally think the last thirty minutes shouldn’t have tried to take the film on a completely different course than the one it had been following, up to that point, almost perfectly. Thankfully, the final scene rescues the ending and gives us one scrumptious aftertaste to hold onto, but there is definitely some difficulty getting to that point.
But the first two acts – lovely, sentimental, and enchanting, the very best appetizer and main course that you could ask for. The film also has an ever-so-slightly old-fashioned quality to it: until the final half-hour, it is softly lit and the dialogue is soft-spoken. It’s sometimes difficult to remember that this little indie dramedy was produced by Steven Spielberg and Oprah Winfrey, two giants of the mainstream entertainment industry. Unfortunately, big-name producers don’t always inspire interest from general audiences – James Cameron learned that with Alita: Battle Angel, and Spielberg/Winfrey presumably learned that with The Hundred-Foot Journey, which is sadly neglected, almost completely forgotten, in fact. I don’t even know what inspired me to choose it, almost at random, from a wide selection of films on Netflix – but I am so glad that I did.
latimes.com
Hopefully, this post will inspire you to check it out for yourself, whether today, on this French national holiday, or any day of the year. I urge you to at least try it. I truly believe your life will be a little better for it.
My first thought while watching this trailer was that Sir Patrick Stewart clearly didn’t want to be left out of all the wickedly charming fun that his good friend, Sir Ian McKellen, is having in The Good Liar. Yes, the first trailer for the upcoming spy-thriller Charlie’s Angels has dropped, giving us our first look at a fun, diverse cast of all-female heroines – and a cameo from Stewart, who strolls into the scene grinning from ear to ear. Interestingly, the two films will probably have to go up against each other in the busy November scene. If I had to hazard a guess, I’d predict that Charlie’s Angels will have the slight advantage at the box-office, due to its more light-hearted, comedic tone. But both films will likely be swallowed up in Frozen 2 fever, which leaves The Good Liar with the last laugh, as it can at least stick around long enough for an awards-season bonus round, whereas Charlie’s Angels…probably can’t.
But this film has something that too few films can boast: the aforementioned all-female lead cast. Kristen Stewart, Ella Balinska – and Naomi Scott, still fresh off her own magic carpet-ride: here, though, Disney’s newest princess is a government whistle-blower, trying to prevent the creation of a dangerous new weapon that could lead to global catastrophe. These three talented women come together under the direction of Elizabeth Banks from The Hunger Games, who also stars in the movie as the leader of the team.
The action and adventure elements showcased in the trailer do tend to verge on the over-the-top and ridiculous – not so much because the stunts and situations themselves are humorous, but because the actresses are: even Scott, who was actually rather dramatic in Aladdin, but plays wide-eyed naivete very well here. If you’re looking for a Mission: Impossible movie, you’ve definitely come to the wrong place. But if you’re looking for Project Runway meets Mission: Impossible, well…that’s a little more like it. The actresses are perfect paragons of modern fashion.
And, the other notable thing to mention: the song. I feel like I’d be guilty of a crime if I didn’t mention it, considering the way this film is pushing it as if it’s one of the main marketing attractions. A collaboration of three talented musicians like Ariana Grande, Miley Cyrus and Lana Del Rey is never a bad idea, and it sounds pretty good from what we hear of it in the trailer, but seriously, the film shouldn’t have to rely on its soundtrack to sell tickets. The cast pretty much sells itself.
One last thing: the trailer ends with the women answering, almost as if brainwashed, to the commands of some robotic voice called “Charlie”, which presumably explains the film’s title, but I (casual viewer that I am) have no idea what I’m supposed to make of that: a hint of suspense in an otherwise upbeat trailer? Just a fun nod to the 1970s TV series this film is based on?
