My Cousin Rachel

For F*** Magazine

MY COUSIN RACHEL 

Director : Roger Michell
Cast : Rachel Weisz, Sam Claflin, Iain Glen, Holliday Grainger, Pierfrancisco Favino
Genre : Drama/Romance
Run Time : 1h 46min
Opens : 29 June 2017
Rating : NC16 (Some Sexual Scenes)

When a character’s name is derived from the actor playing them, it’s known as ‘The Danza’. Take Will Smith as Will Smith in The Fresh Prince of Bel-Air, Tim Allen and Roseanne Barr in their respective sitcoms, and of course Tony Danza, who played ‘Tony’ in Who’s the Boss and Taxi, amongst other things.

In this romantic thriller, Rachel Weisz plays a character named Rachel – but seeing as the source material was written twenty years before Weisz was born, this can be chalked up to kismet. Philip (Claflin) is an orphan whose legal guardian is his godfather Nick (Glen), but who has been cared for by his cousin Ambrose. While in Florence, Ambrose meets a cousin of his and quickly becomes smitten with her. They marry, but Ambrose falls ill eventually dies. This cousin is named Rachel. Philip is sure that Rachel has killed Ambrose for his fortune, but on meeting her, Philip finds himself unable to resist her wiles. Meanwhile, Nick’s daughter Louise (Grainger) nurses unrequited affection for Philip, and Philip is caught in Rachel’s heady thrall.

My Cousin Rachel is based on the 1951 novel of the same name by Daphne Du Maurier. Du Maurier’s novels Rebecca and Jamaica Inn and her short story The Birds spawned film adaptations directed by Alfred Hitchcock. My Cousin Rachel was first adapted for the screen in 1952, this version directed by Henry Koster and starring Richard Burton and Olivia de Havilland. This new take on My Cousin Rachel is adapted for the screen and written by Roger Michell, famous for helming the considerably sunnier romance Notting Hill.

My Cousin Rachel looks the part of a torrid yet classy affair, thanks to Mike Eley’s lyrical cinematography and the English filming locations of South Devon, Oxfordshire and Surrey. Dinah Collins’ costumes are handsome complements to the picturesque surrounds. However, it seems that the film is slightly too concerned with looking the part, and seems more mannered and stiff than untamed and dangerous. At times, the forbidden romance, the linchpin of the plot, feels ho-hum rather than risky While Michell does stage the proceedings with restraint, the stodginess creates distance between the viewer and the story when this should be beguiling and irresistible.

Weisz is an ideal fit for the titular character, and not just because of her name. She’s able to find the humanity beneath the archetypical Black Widow veil, and her take on the character is far from a laughable caricature. The effortless charm Weisz so subtly exudes Similarly, the dashing Claflin is believable as a naïve heir who’s either ensnared by a bewitching woman, or simply paranoid and delusional. Unfortunately, when the two are put together, the results are lukewarm rather than scorching. Glen delivers a respectable supporting turn, but Grainger remains strictly in the background, when a further exploration of Louise’s feelings for Philip would have made things more interesting.

Playing like a version of Crimson Peak sans the supernatural hijinks and sans Guillermo del Toro’s dark imagination and canny genre references, My Cousin Rachel is skilfully staged but isn’t as viscerally gripping as it should’ve been. Because its central mystery isn’t cleanly resolved, My Cousin Rachel could leave viewers frustrated or haunted. We lean more towards the former.

Summary: Rachel Weisz delivers an electrifying performance, but the movie that surrounds her is considerably duller, too mannered and rigid to inspire passion or generate thrills.

RATING: 3 out of 5 Stars

Jedd Jong

The Finest Hours

For F*** Magazine 

THE FINEST HOURS 

Director : Craig Gillespie
Cast : Chris Pine, Casey Affleck, Ben Foster, Eric Bana, Holliday Grainger, Kyle Gallner, John Magaro, John Ortiz, Josh Stewart
Genre : Drama
Run Time : 118 mins
Opens : 18 February 2016
Rating : PG (Some Intense Sequences)

Venture into the tumultuous waters of Cape Cod to witness of one of the most harrowing rescues in maritime history in this historical disaster drama. It is February 1952 and the S.S Pendleton, a T2 oil tanker, is caught in a severe storm off the Chatham coast, breaking clean in twain. Bernie Webber (Pine), a newly-engaged Coast Guard crewman, is dispatched by Chief Warrant Officer Daniel Cluff (Bana) to take his tiny lifeboat out to sea to rescue the Pendleton’s crew. Bernie takes Richard Livesey (Foster), Andrew Fitzgerald (Gallner) and Ervin Maske (John Magaro) with him. Aboard the severed stern section of the Pendleton, first assistant engineer Ray Sybert (Affleck) is forced to take charge, devising a method to keep what’s left of the ship afloat as long as possible. Bernie’s fiancé Miriam Pentinen (Grainger), along with the townsfolk of Chatham, await the safe return of Bernie, his crew and the men of the Pendleton, as their odds of survival grow slimmer by the minute.

            The Finest Hoursis based on the book of the same name, subtitled “The True Story of the U.S. Coast Guard’s Most Daring Sea Rescue”, by Michael J. Tougias and Casey Sherman. Director Craig Gillespie has delivered a resolutely old-fashioned adventure drama, harking back to the days “when men were men”, so to speak. While there’s definitely a certain dignity to The Finest Hours in its celebration of heroes who aren’t widely known to non-maritime history buffs, it’s also something of a drag in parts. There are individual sequences that are genuine nail-biters featuring convincing visual and special effects work, but in between those, there’s a curious dearth of momentum or urgency, particularly since this revolves around a time-sensitive rescue attempt. In fact, it’s only around 45 minutes into the film that Bernie and his crew actually get into their lifeboat and set sail.

            
While Pine is more Abercrombie pretty boy than Old Hollywood rugged, there’s a matinee idol quality to him that makes him an ideal candidate to portray the determined, courageous hero in a period adventure piece. That “Bawston” accent he’s attempting is iffy, though. The film doesn’t begin on the high seas, but rather by establishing the romance between Bernie and Miriam, hoping that this will be the emotional anchor. Unfortunately, it’s not a particularly compelling romance and this element of the film has been dramatized the most from how things really unfolded. Miriam is portrayed by Grainger as a headstrong, proactive woman, but when she charges into Cluff’s office to demand that he makes Bernie turn the lifeboat around, it comes off more as an annoyance than a loving act of concern. The trope of the worried significant other back home pining for our hero’s safe return is often unavoidable in films of this type, and the attempts to add to this are generally unsuccessful.

            Casey Affleck’s demeanour is not as traditionally masculine and heroic as that of his older brother Ben, but he does sell the role of someone who has to think fast and work hard under pressure. As the boss from out of town who is not generally well-liked, Bana has sufficient gravitas but noticeably wrestles with the character’s southern accent. The performances are generally serviceable but ultimately, there isn’t enough to distinguish most of the crew members of the Pendleton, or the men with Bernie in the lifeboat, for that matter.

            Michael Corenblith’s production design and Louise Frogley’s costume design bring a level of authenticity to The Finest Hours and in the grand scheme of movies billed as “based on a true story”, The Finest Hoursmakes relatively minor deviations from established history. This is director Gillespie’s second film for Walt Disney Studios, following sports drama Million Dollar Arm, also based on a true story. While The Finest Hours is Gillespie’s most ambitious film on the technical front, it pushes no boundaries in its narrative. The startlingly intense and immersive scenes of the tiny lifeboat getting ravaged by immense waves are thrilling, but the film never quite reaches the rousing, inspirational heights it’s aiming for.



Summary:Harking back to the disaster dramas of yesteryear, The Finest Hours has its riveting moments but the story, as remarkable as it is, ends up insufficiently impactful.

RATING: 3out of 5 Stars

Jedd Jong