Belle

Director: Amma Asante

Starring: Gugu Mbatha-Raw, Tom Wilkinson, Emily Watson, Sarah Gadon, Sam Reid, Miranda Richardson

Released in UK: Friday 13^th June

The painting of Dido Elizabeth Belle alongside her cousin Lady Elizabeth Murray caused quite a stir when it was first presented in the 1700’s. The image of a beautiful young black woman dressed in fine garments next to that of her white female companion was one of a kind. Pictures of the era were full of black men and women, however they were always depicted as slaves or servants and mostly looking up at the white subject in owe as a statement of their power status.

The picture of Dido and Elizabeth however is of equality, friendship and beauty.

This very picture triggered an interest in the British Bafta-award winning director Amma Asante who has released a semi-biopic feature film about Dido, presented in this moving romantic period (Jane Austen inspired) drama.

1769. Belle (Mbatha-Raw) is the daughter of an aristocratic Royal Navy admiral (a brief appearance by Matthew Goode) and a slave mother. When her mother dies, he unusually acknowledges her and takes her back to his family in London where their initial response is of utter confusion and shock. Given the name ‘Dido’ by her new family, she is taken under the wing of her Aunt and Uncle, The Lord and Lady Mansfield (Watson and Wilkinson) and raised as one of their own alongside her cousin Elizabeth Murray (Gadon). However Dido struggles with identity, as her colour continues to single her out in society.

The painting hung at Kenwood House until 1922, but in a grossly insulting and shocking turn of events, Dido’s name was scrubbed off and the very memory of her name disappeared. So for years people had no idea of the identity of the dark woman in the picture. Was she a servant or was she an aristocrat?

Dido was only very recently re-identified in the painting in the 1980’s, an incredible find considering its history. There is very little information about the life of Dido, however recent publishing’s by Paula Byrne and Fergus Mason, no doubt triggered by the interest in this film, will provide more background into the life of this amazing woman.

The very reason for the film being titled Belle and not Dido was as Asante puts it herself  ‘to honour her mother.’ Dido was the name given to her by her adopted family, not at birth.

The particular themes recognised are valued in this film, closely that of slave trade of the times. Did’s Uncle was also Lord Chief of Justice, and presided over cases of slavery including the Somerset ruling, and then the Zong case where more than 140 slaves were throw overboard a trading ship purely to claim insurance for their loss. Lord Mansfield’s particular affection for Dido alters and shapes the choices he makes, and indeed that of British Law altogether.

In Belle, Dido is treated with contempt by many of those she came into company with. While her family loved and cared for her, the colour of her skin, being that of mixed race or ‘mulato’ as it was once called, caused much talk. Much of this contempt is targeted by the wealthy Ashford family, led by the deliciously scheming Miranda Richardson and her elder son James (Tom Felton), who shows nothing but utter contempt towards poor Dido. Though she was loved and treated well at home, she was still not even allowed to eat with her family when they entertained (too lowly to dine with company and yet too wealthy to dine with the servants), completely alienating her.

The only love Dido experiences outside of her family, comes in the form of dashing John Davinier (Sam Reid), an idealistic young vicar’s son who falls for Dido when he begins an apprenticeship for Lord Mansfield.

Mbatha-Raw (who herself is half English, half South African) plays Dido with such an elegance and poise, she would have made a perfect candidate for any Jane Austen story, however with a lack of stories that have someone like her as the main character, this is her first chance in a leading role.

Much praise also goes to the magnanimous Tom Wilkinson in a superb performance and one of the finest in his recent repertoire, showing Lord Mansfield as kindly and honourable.

Any fault lies with the fact that pacing is a little slow and that it also deviates from historical facts. In reality Dido went on to marry a French steward, and as a single wealthy woman at the time, she would not have embraced a man in public. It would have been a scandal. Just a few romantic liberties taken to please a modern day audience, which Asante has acknowledged.

It’s also a shame to once again see poor Tom Felton type cast as a villain. He seems to be eternally stuck in the shadow of his evil counterpart from Harry Potter Draco Malfoy. It would be a pleasant change to see him have the opportunity for other diverse roles.

Asante has pulled a brilliant team together, from the script to the costume and music. She is dedicated to telling her story, though admitting making a lighter romantic piece less heavily laden with the racial and slavery issues. 12 Years A Slave this ain’t, but it is a beautifully constructed drama, showcasing some excellent talent, both on and off screen.

VERDICT: * * *

This lovely piece is a refreshing twist on the Jane Austen yarns we’ve come to know and love, telling a captivating story about race, equality and love in a very unforgiving and prejudiced society.

While Wilkinson’s performance is brilliant, leading lady Mbatha-Raw’s tough and moving performance is perfectly cast here. Expect to see a lot more from her.

Belle opens nationwide in UK cinemas 13^th June

22 Jump Street

Director: Phil Lord and Christopher Miller

Starring: Channing Tatum, Jonah Hill, Ice Cube

Released in UK: 6^th June 2014

Playing on the idea that the sequel is rarely as good as the first, the second round for cop duo Schmidt and Jenko is clearly revelling in every moment to make fun of the fact that this is a blown out full-on sequel with gags nicked from the first. They don’t let you forget it. Everything in the sets is bigger, better, flashier and much more expensive. As Ice Cube’s Captain Dickson announces during one of his rants, “I’m wearing $800 shoes, and you can’t even see them!”

21 Jump Street leapt onto TV’s in the late 80’s starring a fresh-faced Johnny Depp. A couple decades later when a big screen remake was announced, expectations were low. After all cinema has seen many a disappointing American TV reboot flop, Miami Vice and Dukes of Hazard being some of the most recent. However despite a lower budget, the film was the sleeper hit of 2012 and made over a whopping $200 Million at the box office. While it was a massive hit, it was in fact very funny and well liked by most critics and audiences alike..

So they’re back, and following on directly from their undercover drug bust success at High school, twenty-something hapless cops Schmidt (Hill) and Jenko (Tatum) are now undercover at University trying to find the source of a new narcotic drug called WHYPHY (Work Hard Yes Play Hard Yes). Bring on the college mayhem.

It’s an easy transition – moving our heroes from high school to College, and while the jokes are laid on thick and fast, thankfully they pay off. You’re left in fits of laughter. Director’s Phil Lord and Christopher Miller have pulled out another hit from the bag (they’re also responsible for The Lego Movie).

All the classic college jokes are here; the drinking, the partying, the frat initiation, the intellectual classes no one understands and even the weird roommates. From the morning after walk of shame, Tatum’s riff on his role in White House Down to Hill’s hilarious performance moment mocking impromptu poetry recital the jokes just keep coming; and what’s more – they’re really funny.

The best joke by far sees Schmidt making a fatal mistake by igniting the wrath of Captain Dickson through a very personal error, and well, it shouldn’t be given away but it’s absolutely brilliant.

Is it funnier than it’s predecessor? Well it certainly matches it.

Tatum plays dumb like no one else can and does it incredibly well. He is perfect for the role of drop out Jenko, even having a ‘meet-cute/ moment finding a kindred spirit at college in the form of fellow jock Zook (Kurt Russell’s real life son Wyatt Russell). Hill meanwhile, who has experience mastering his comedic flare many a time before is brilliantly embarrassing as out of shape pudgy Schmidt. Together they are Laurel and Hardy.

While this is a comedy, it’s also a great bromance. Schmidt and Jenko are like chalk and cheese, but put together Tatum and Hill have great chemistry making them the ultimate comedy couple. They bicker, have break ups and Schmidt becomes jealous of Jenko’s newfound friendship with Zook.

As the eternally enraged, angry police captain on the case Ice Cube is deliciously over the top as Dickson.

One of the only miscasting here is Jillian Bell as a bitchy and constantly stone-faced foul-mouthed roommate with a vendetta against pretty much everyone. Her involvement in the plot turns into something strangely odd and distractingly out of place. It’s a shame, and while the ending is not that amazing and some of the special effects green screens are a little bit dodgy, it doesn’t matter and by no means scuppers any enjoyment we’ve having.

If the parody end credits are anything to go by, we will see more of Schmidt and Jenko, and we wait in excited suspense; but really, how much bigger can they go?

VERDICT: * * *

22 is delightfully stupid, with brilliant comedic performances from Hill, Tatum and especially Cube. Though it’s not one of the greatest comedies ever, the hilarious gags are turned up to the max in this impressively funny sequel.

22 Jump Street is out in UK cinemas from Friday 6^th June. 21 Jump Street is available on DVD and Blu-Ray now.

Edge Of Tomorrow

Director: Doug Liman

Stars: Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson

Released: 30^th May – Still Showing

Taking a look at the poster for Edge Of Tomorrow and dressed in their fancy gadget-equipped battle costume gear, Tom Cruise and Emily Blunt don’t look that much out of place in every genetic action thriller (think Starship Troopers meets Alien meets Saving Private Ryan). On the surface, this looks like any other, but the twist here includes sci-fi time looping causing a Groundhog Day effect of epic proportions.

In the near future our planet has been invaded by powerful octopus-like alien entities called ‘Mimics’, which are wiping out the human race. When US military’s PR strategic officer Lt. William Cage (Tom Cruise) is press ganged into the thick of the action, not only is he well out of his comfort zone (evident by his complete lack of combat training), but when he is killed accidentally absorbs alien blood into his system finding himself inexplicably reliving the same day over and over every time he is killed. So ensues a battle against the fates, as Cage fights not only an evil force, but also to find a way to stop time reloading – and to do this he needs the help of super-warrior Rita Vrataski (Emily Blunt) who is the only other person who has been through exactly the same thing as him.

This is Doug Liman’s second attempt at sci-fi after 2008’s exciting Jumper project turned out to be disappointingly wishy-washy and forgettable. Taken from Hiroshi Sakurazaka’s novel All You Need Is Kill, Edge Of Tomorrow is an exciting, gritty and intelligent roller coaster ride of emotions in a world of generic, long and boring action movies with little meaning.

Recycling the old time bending trick that has been used numerous times before, (like fan favourite Back To The Future and most recently Source Code) but pleasingly the worrying elements of the repetitive nature are unfounded and are in fact used to excellent effect without compromising the story and keeping it fresh and funny - very funny in fact. One scene-stealing moment sees Cage desperately trying to trick his fate with a few perfectly timed actions, most memorably a nifty under-car roll that goes wrong once or twice (or perhaps many times?!). Emily Blunt meanwhile is clearly revelling in being able to shoot Tom Cruise over and over again, training him until he corrects his mistakes and gets it right. The more he fights, the longer he survives and a better soldier he becomes.

The set pieces are fantastic, travelling mainly through London and France. They even managed to clear central London for the day so they could land a helicopter into a deserted Trafalgar Square in the opening scene.

While the action and special effects are top notch and pretty much speak for themselves, it’s of major importance that we not be bogged down by a bad script. The writing here however is intelligent and well crafted thanks to the smarts of Christopher McQuarrie (who wrote The Usual Suspects) with British writing duo-brothers Jez and John-Henry Butterworth. The dialogue is short and punchy while the characters are vibrant and gritty. 

It's also noteworthy that Cruise is cast against his usual type, which will please those who have an issue with him in his other big budget films. This time he starting off as a cowardly sideliner, happy to let other people do the heavy work. But as he is trained, and has to learn from his mistakes over and over he becomes a powerful fighter.

The breakneck speed of the plot means character development is lacking. Cruise and Blunt mesh well together though as leading stars and for a refreshing change are not solely romantically focused. It's a delight to see the emmensely talented Blunt back on the screen in her first big action role while Cruise also takes a surprisingly likeable change of route as the anti-hero stepping up to the plate.
The other cast members are of little importance really, though Bill Paxton is a great presence as Cage’s commanding officer barking orders and smirking with glee.

Why they needed to retitle it from the book is unfortunate, perhaps All You Need Is Kill is not quite the punchy title they wanted, though what they replaced it with sounds like the latest Bond movie.

Do you need to see it in 3D? No not particularly, but it is an enjoyable film that should definately been seen on the big screen.

Great story, great cast and great script in an action film…easily the best blockbuster of the year so far.

VERDICT: * * * *

Despite it’s generic retitle, Edge of Tomorrow is a smart, funny and visually dazzling sci-fi, while the time twist works beautifully without becoming boring or (ahem) repetitive! Blunt shines, and once again Cruise proves what a great action man he still is in what is miles ahead of other actioners this year so far. One to watch again…and again…and again…

Edge Of Tomorrow is showing at cinemas across the UK now, in 2D and 3D Imax performances.