Tag: Helena Bonham Carter

  • Enola Holmes 2 (2022, Harry Bradbeer)

    Enola Holmes 2 runs a long two hours and nine minutes, but the movie actually leaves a bunch on the table. For example, antagonist David Thewlis has history with both Sherlock (Henry Cavill) and Mama Holmes (Helena Bonham Carter), seemingly separately, but the film never gets into it. Thewlis is phoning it in, gloriously biting…

  • Enola Holmes (2020, Harry Bradbeer)

    Enola Holmes is a solid vehicle for the proposition of lead Millie Bobby Brown as a movie star—she infrequently narrates to great effect, in a manner far more Ferris Bueller than John Watson (more on the infrequently in a bit). But as almost anything else the movie fizzles. Henry Cavill as Sherlock Holmes? He’s not…

  • The King’s Speech (2010, Tom Hooper)

    There’s a lot of fine direction in The King’s Speech. Hooper does exceedingly well when he’s showcasing lead Colin Firth’s acting or showing how Firth, who starts the film as Duke of York and ends it King of England, moves through the world as this sheltered, unawares babe. Of sorts. These successful sequences would stand…

  • Alice in Wonderland (2010, Tim Burton)

    Alice in Wonderland has a number of balls in the air at once and director Burton–though he does show a good sense of them each while in focus–can’t seem to bring them together successfully. The potentially unifying elements–like Danny Elfman’s score or Mia Wasikowska in the lead–both fall short. For whatever reason, Burton doesn’t have…

  • Dark Shadows (2012, Tim Burton)

    With Dark Shadows, director Burton and screenwriter Seth Grahame-Smith find a great formula for humor in the film, which has a lot of inherent humor in just taking place in 1972 and having vampire running around. While it’s very much comedic, Burton infuses it with a surprisingly dark element. But Johnny Depp’s lead isn’t the…

  • Mary Shelley's Frankenstein (1994, Kenneth Branagh)

    I’m trying to think of good things about Mary Shelley’s Frankenstein. It starts off poorly, with an opening title seemingly made on a cheap video editor from the late 1970s, then moves into the Walton framing sequence. Apparently, no one involved with the film—Branagh, the screenwriters, the producers—understood the point of these frames in the…

  • Terminator Salvation (2009, Joseph McGinty Nichol), the director’s cut

    Ok, no joke, what idiot thought adding Christian Bale to Terminator 4 was a good idea? Was it McG? Without the dumb connection to the previous films–if it had just been the adventures of Anton Yelchin’s Young Kyle Reese–it might have been fine. Nichol’s direction isn’t anything spectacular (it’s solid enough, surprisingly), but he doesn’t…

  • Harry Potter and the Order of the Phoenix (2007, David Yates)

    I’m out of touch. I realized I saw three blockbusters this summer, something I hadn’t done since 1999 or so. When the opportunity to see Harry Potter and the Order of the Phoenix presented itself, I leapt at it. I figured I could get a good sense of the state of the Hollywood blockbuster. Amusingly,…

  • Wallace and Gromit in The Curse of the Were-Rabbit (2005, Nick Park and Steve Box)

    First and only full-length theatrical outing for director Park and his clay animated creations Wallace and Gromit. It’s a great expansion of the duo’s adventures, but one is kind of okay. The clay animation and writing are exceptional work, as always, from Park and company. DVD, Blu-ray, Streaming.Continue reading →