This Beautiful Fantastic

THIS BEAUTIFUL FANTASTIC

Director : Simon Aboud
Cast : Jessica Brown Findlay, Tom Wilkinson, Andrew Scott, Jeremy Irvine, Anna Chancellor
Genre : Drama/Comedy
Run Time : 1h 32min
Opens : 25 May 2017
Rating : PG

As Lady Sybil Crawley in Downton Abbey, Jessica Brown Findlay didn’t have to do much yard work. She’s making up for that in this comedy-drama, in which she plays Bella Brown. Bella is an aspiring children’s book author, who works in a library. She’s particular about keeping tidy, but not being an outdoorsy type, has never tended to the garden. Bella’s landlord gives her an ultimatum: get the garden in order, or get evicted. Bella’s cantankerous neighbour Alfie Stephenson (Wilkinson), who mistreats his housekeeper/cook Vernon (Scott), happens to be a gifted horticulturist. Alfie has great disdain for Bella because of Bella’s “crimes” against flora, but reluctantly agrees to help Bella clean up the garden, when Vernon quits because he’s tired of enduring Alfie’s abuse. Meanwhile, a young, absent-minded inventor named Billy (Irvine), who often visits the library to do research, catches Bella’s eye.

Writer-director Simon Aboud has pitched This Beautiful Fantastic as a contemporary fairy tale. Hardcore Anglophiles might be enamoured with this concentrated dose of twee – practically every review of this film will use the adjective ‘twee’. However, more cynical viewers will be painfully aware of how the movie is constantly tripping over itself in pursuit of charm and whimsy. It’s a pleasant film to look at and is ultimately a good-natured work, but the film cranks up the ‘adorkable’ factor to sometimes insufferable levels. The works of Roald Dahl appear to have had an influence on Aboud, specifically Matilda and Esio Trot. The “young person befriends grumpy old man” trope has been explored in the likes of Up and A Man Called Ove, with This Beautiful Fantastic delivering a largely typical take on that device.

Aboud does have a talented, likeable cast on hand, even if the characters hew too closely to recognisable archetypes. As the shy writer who would much rather get lost in a book than in the great outdoors, Findlay is fine. However, the character is defined more by her tics than by anything else. The prologue gives us Bella’s backstory, depicting her upbringing in an orphanage and establishing her Obsessive-Compulsive traits. It’s nothing to get worked up over, but the use of OCD to make a character seem peculiar but loveable is a tired device.

Wilkinson can play a curmudgeon in his sleep. He gets all the best lines, but it’s obvious that the crust which encases Alfie will gradually crumble away as the film progresses. The transformation he undergoes is all too abrupt, and while there’s meant to be tragedy behind why Alfie has ended up this way, these layers aren’t sufficiently fleshed out.

Scott seems miscast as Vernon, the awkward housekeeper and talented chef. Vernon is a beleaguered widower who has borne the brunt of Alfie’s invective so he can make a living and support his young twin daughters. Scott has made a name for himself playing supercilious, often sinister characters, and is unable to summon the unguarded sweetness that seems vital to a character like Vernon.

Then there’s Irvine, who seems to have stepped straight out of a sitcom. With unkempt hair, wire-rimmed glasses, a pencil tucked behind his ear, and barely balancing all his gear and books, all Billy is missing is a tattoo reading “nerd” inscribed upon his forehead. Irvine can be endearing, but is often annoying here – not obnoxiously so, but enough to be frustrated with. The love triangle between Bella, Vernon and Billy is not as big a part of the story as this reviewer feared, but still plays out as enough of a distraction from the gardening montages, which frankly aren’t all that interesting.

Instead of sweeping one up into a gently heightened world of wonder, This Beautiful Fantastic is at once too manufactured and too mundane to warrant complete surrender. It does not indulge in overt emotional manipulation and one can sense the earnestness behind it, but an excess of quirk and a lack of substance hampers the film from being the little gem it could’ve been.

Summary: This Beautiful Fantastic wants to be a delight and a curiosity, but even though it has its moments, the movie is too self-conscious and sometimes grating.

RATING: 2.5 out of 5 Stars

Jedd Jong

Victor Frankenstein

For F*** Magazine

VICTOR FRANKENSTEIN

Director : Paul McGuigan
Cast : James McAvoy, Daniel Radcliffe, Jessica Brown Findlay, Andrew Scott, Freddie Fox, Charles Dance
Genre : Drama/Thriller/Horror
Run Time : 110 mins
Opens : 26 November 2015
Rating : PG13 (Some Violence and Disturbing Scenes)

A classic tale is struck with a new spark in this adaptation of the landmark Mary Shelley novel. A nameless hunchback circus freak (Radcliffe) with a penchant for anatomical science has his life changed when he is rescued from the circus and taken in by Victor Frankenstein (McAvoy). Frankenstein is a medical student who is embarking on radical, controversial experiments to bring living beings back from the dead. The hunchback assumes the identity of “Igor Strausman”, Frankenstein’s former flatmate. Inspector Turpin (Scott) of the Scotland Yard is convinced that there is something fishy about Frankenstein and his new associate, the nature of their experiments offending Turpin’s religious sensibilities. In the meantime, Igor pursues a relationship with circus aerialist Lorelei (Findlay), whom he has long harboured affections for. As Frankenstein becomes increasingly obsessed with his experiments, Igor finds himself caught in a web of monsters and madness. 


           Frankenstein; or, the Modern Prometheus, is a massively influential work that has been adapted countless times across multiple mediums. This version is told from Igor’s point of view and is kind of “The Social Network in the 19th Century”, with two friends collaborating on a project that will have untold ramifications. There are significant departures from the source material – after all, Igor wasn’t even in the original novel. However, Victor Frankenstein does get a lot right in not straining to be a drastic reinvention or to turn everything on its ear. This is still a science fiction horror story and the heady themes so crucial to the longevity of the tale are very much intact and expounded upon.



Adapted by Max Landis of Chronicle fame, there are knowing winks and nods in the dialogue and there is explicit acknowledgement of the misconception that “Frankenstein” is the name of the monster instead of the scientist. There’s even a line about a “Presentation in Hall H,” a reference to the San Diego Convention Centre hall that hosts Comic-Con’s largest movie panels each year. It is sometimes smart-alecky, but never overwhelmingly so. The tone is consistent, moody and grave with just the right concessions to campiness. The gloomy, gothic Victorian London setting is heightened without being goofy, Eve Stewart’s production design and Jany Temime’s costume design lending the project considerable period piece cred. Director Paul McGuigan employs some neat stylistic flourishes, most notably superimposing annotated anatomical diagrams onto the image, which is a fun visual device. 


The film’s two leads are invaluable assets and in their hands, the “mad scientist bromance” comes off as a viable and compelling angle from which to approach the story. Radcliffe is eminently vulnerable and sympathetic as Igor, a character who is given multiple dimensions and is satisfyingly developed past the shambling, subservient hunchback he is commonly depicted as. McAvoy tackles the Frankenstein role with brio, this is clearly a man possessed but his motivations do come from an honest place. McAvoy partakes in histrionics and ravenous scenery-chewing, but he always seems in control of the theatricality and doesn’t let the over-the-top elements of the role run away from him. McAvoy and Radcliffe have marvellous chemistry and the film revels in its homoerotic subtext. Their relationship is genuinely affecting and the duo bring out the sincerity in a story that can be very cynical.

Because so much of the film is focused on Frankenstein and Igor’s partnership, the supporting characters do get the short shrift. Both Lorelei and Turpin are somewhat under-written roles that can’t help but feel like the designated love interest and antagonist respectively. Since Radcliffe shares so much more chemistry with McAvoy than with Findlay, the romance between Igor and Lorelei feels entirely peripheral to the relationship between Igor and Frankenstein; this was likely intentional. Scott, best-known for his portrayal of Moriarty in BBC’s Sherlock, delivers a terse performance that is ultimately not very arresting. Turpin’s personal beliefs are a way of depicting the conflict of science and religion, which is heavy-handed in parts. Charles Dance makes an all-too-brief brief appearance as Frankenstein’s haughty, disapproving father.

When a studio rolls out yet another iteration of a beloved tale, with the producers promising a take “like nothing you’ve ever seen before,” one can’t help but roll one’s eyes. Victor Frankenstein introduces new elements to the story that do not seem awkwardly out of place. The relationship on which the story hinges is fleshed out and there’s a vibrancy to the storytelling as opposed to a self-important stuffiness. Instead of coming off as an unnecessary re-tread, Victor Frankenstein feels like a retelling that is clever enough to justify its existence. There is also just the right amount of gore – it doesn’t feel like the filmmakers are pulling any punches, which is rare for a PG-13 horror movie. The explosive sexual tension between the leads certainly doesn’t hurt either. 



Summary: Assured in tone and boasting electrifying lead performances, Victor Frankenstein is a dynamic, entertaining retelling of the sci-fi/horror classic.

RATING: 4 out of 5 Stars

Jedd Jong