Tag: Saoirse Ronan

Geekscape Movie Review: Ammonite

by MCDave

Awards season always arrives with a host of films desperate to win the affection of industry insiders, critics and the general public alike. Even in a year as unorthodox and unconventional as 2020, the list of Oscar hopefuls is as oversaturated with pseudo-contenders as ever, and none is more symbolic of this excess fluff than Francis Lee’s Ammonite. Once assumed to be a major awards season player, Ammonite has fallen from its sturdy perch into the cold, forgotten depths of the late-year frenzy and rightfully so.

Set in the cold and dreary seaside of 1840s England, Kate Winslet stars as Mary Anning, once an acclaimed and fossil hunter who has found solace in her own seclusion throughout the twilight of her career. But when a wealthy visitor entrusts Mary to entertain and care for his wife, Charlotte (Saoirse Ronan), she simply cannot afford to reject his offer. What begins as a combative relationship between these two women ignites into a fiery passion that goes against all social norms.

Written and directed by Francis Lee, Ammonite is the follow up to his well-received 2017 debut feature, God’s Own Country, which examined the budding homosexual relationship between an English sheep farmer and a Romanian migrant worker. Needless to say, the themes explored in this film are not uncharted waters for Lee. Yet, his latest effort is neither bold or daring in any way whatsoever, failing to mirror his intention of a courageous love story between the two main character. Instead, Lee relies on mere aesthetics such as exquisite cinematography and authentic set and costume designs to embolden an otherwise hollow endeavor. Ammonite is silent and subtle to a fault. The audience is forced to wade through quiet imagery and predictable performances that sadly culminate in a devastatingly unconvincing love story. Both Winslet and Ronan, whose career achievements speak volumes about their onscreen abilities, have their deeply committed acting talents squandered by subpar direction and razor-thin characters. Ammonite lacks vigor and energy, serving as a dull and lifeless late-year entry that undoubtedly falls short of its lofty awards season aspirations.

Grade: 2.5/5

Geekscape Movie Reviews: Mary Queen of Scots

by MCDave

The stakes are raised for new releases with each passing day, it’s the cruel and unapologetic reality of Oscar season. And that means if a movie isn’t viewed as “good enough” to stir the pot amongst early front-running favorites, then it often falls by the wayside and quickly becomes a forgotten memory. Unfortunately, this is exactly what’s bound to happen with Josie Rourke’s finely crafted period-piece drama, Mary Queen of Scots.

In the late 1500s Mary Stuart (Saoirse Ronan), the rightful heir to the throne, travels back home to Scotland after the death of her husband, the King of France. Meanwhile, Mary’s cousin Elizabeth I (Margot Robbie) has ruled over England in her absence and is shocked to learn of Mary’s return. A struggle for absolute power inevitably emerges between these two women and the men closest to them as the fate of England, Scotland and the entire world rests on their shoulders.

Mary Queen of Scots superbly captures the cutthroat underworld of royal monarchy by closely mirroring contemporary issues regarding women’s equality through a gut-checking period-piece set over 400 years ago. We’re thrust into a world of power, privilege and familial duty where cunning backstabbing becomes the norm while climbing up the ladder of succession. And as a film that checks-off many of the once vital Oscar boxes (biographical period piece, check … star-studded cast, check … compelling story, check …), Mary Queen of Scots has somehow faded from the awards season without a whimper. This surprising absence cannot be blamed on the film’s central performances. In fact, two of the five Best Actress Nominees from just last year devour the film’s screen time and they do so with brilliance. Saoirse Ronan’s stern and fearless demeanor builds with every subsequent scene, while Margot Robbie’s unstable and borderline paranoid psyche is magnificently delivered. Both women deserve higher praises than they have received to this point, but that isn’t meant to overshadow James McArdle’s eye-opening supporting turn as Mary’s half-brother, James. Admittedly, I’m no historical expert on this time period, but I do believe that Josie Rourke’s interpretation of these events would cause much debate among scholars. But still, adequate pacing and a gripping biographical tale make Mary Queen of Scots a well-acted and worthwhile addition to 2018’s crop of films.

GRADE: 3.5/5

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Geekscape Movie Reviews: Lady Bird

by MCDave

Thanks to countless collaborations with acclaimed indie filmmaker Noah Baumbach, Greta Gerwig has cemented her standing as a formidable lead actress in contemporary Hollywood. And even after a steadily climbing career inexplicably found her on the outside looking in at this past Oscars ceremony, where her work in Mike Mills’ 20th Century Women was actually one of the year’s strongest performances despite the snub, Academy voters will have a difficult time turning a blind eye to Gerwig’s beloved festival darling, Lady Bird. This indie treat combines the witty charm of Gerwig’s screenplay with a familiar Oscar player, Brooklyn star Saoirse Ronan.

The self-nicknamed “Lady Bird” (Ronan) wants nothing more than to escape her Northern California roots by getting into an east coast college despite her mom’s (Laurie Metcalf) strongest efforts to keep her local. And as Lady Bird navigates through senior year with her best and only friend, Julie (Beanie Feldstein), she encounters many firsts that slowly shape her her transition into adulthood.

Sadly, if you’ve seen Lady Bird‘s official trailer then you’ve seen many of the films most memorable moments. But still, Gerwig’s endearing script miraculously finds ways of triggering familiarity to our own teenage years, full of awkwardness and immaturity that we’ve all encountered in some shape or form. Saoirse continues to demonstrate her acting prowess by channeling her inner irrational self, without a filter and desperate to develop a sense of self. Lady Bird makes for such an interesting character because she’s so relatable, a testament to Gerwig’s crafty writing and Ronan’s ability to bring the title character to life. Equally as impressive as Ronan’s stout onscreen performance is the reemergence of Roseanne co-star, Laure Metcalf. Playing Lady Bird’s combative mother, Metcalf brings a natural fluidity to the role and their meticulously crafted co-dependence proves a marvelous component to the film. Lady Bird moves well with its brisk nearly 90-minute running time, but it also lacks a big emotional punch to the gut with its meandering resolution. Gerwig’s effort is certainly a strong one and seems primed to be an Oscar player as the year comes to a close, but Lady Bird also falls short of greatness in many regards.

GRADE: 4/5

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Geekscape Movie Reviews: Brooklyn

by MCDave

In a bit of a perplexing twist, the 2015 cinematic slate appears to be dominated by a barrage of brilliant female performances. Typically, there are a dozen or so male roles every year worthy of Oscar discussion while the Best Actress race is sometimes relegated to dip into the foreign film ranks to help fill out its top five. Yet, 2015 has broken the mold and churned out an exceptional list of leading ladies primed to claim a highly coveted Oscar statue, and Brooklyn‘s star, Saoirse Ronan, finds herself nestled in the thick of the race.

After receiving the rare opportunity to travel to America in the 1950s and being set up with a job at a retail store and a place to stay, Irish native, Eilis Lacey (Ronan) leaves her elder sister and mother behind as she embarks on a new journey. Settling down in Brooklyn, New York, Eilis struggles coping with home sicknesses until she meets a charming Italian man named Tony (Emory Cohen) who sweeps her off her feet. Their relationship blossoms until Eiles is forced to venture back to Ireland where she is pursued by a wealthy and dashing young man (Domhnall Gleeson) who begs her to stay. Torn between these two wonderful men, Eilis must buckle down and choose the right destiny for her.

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John Crowley’s Brooklyn serves as a pleasing love story largely elevated by the refined onscreen work of its leading star, Saoirse Ronan. The gifted performer shines through a graceful and soft spoken character that forms an instantaneous bond with the audience. Her performance is complemented by a notable turn from supporting star, Emory Cohen. As someone put off by Cohen’s small role in the 2012 drama, The Place Beyond the Pines, the actor re-brands himself in this winning drama. The entire ensemble is worthy of recognition as the complete cast plays a vital role in bringing Nick Hornby’s delightful script to life, but it’s the envious chemistry between Ronan and Cohen that sets the perfect tone for Brooklyn‘s triumphant love story.

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Despite admirable acting and a top-notch screenplay, the films stumbles greatly in its third act. Brooklyn feels like it’s on the clock and, as a result, this adapted story speeds through an ineffective and disingenuous love triangle in order to fall under the two-hour threshold. In addition, I’ve always praised the career work of supporting actor Domhnall Gleeson, yet he’s completely mishandled in the role of Jim Farrell, Eilis’ romantic interest when she returns home to Ireland. Unfortunately, this abrupt finale stands as a clear and tragic detractor from an otherwise brilliant film.

In what’s become the mantra of the year, Brooklyn resides as another very stellar, yet unforgivably flawed, title. Thankfully, a witty screenplay and talented performers remain as the lasting memory with budding filmmaker, John Crowley’s, latest work. You should expect to hear Saoirse Ronan’s name during the awards season and a Best Picture nomination for Brooklyn would certainly be warranted as well.

GRADE: 4/5

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