Taika Waititi breathes life – and plentiful humour – into Thor: Ragnarok, a fun, yet patchy entry into the Marvel Cinematic Universe. Chris Hemsworth returns as Thor, who must make peace with brother Loki (Tom Hiddleston) in order to stop Hela (Cate Blanchett), their evil, long lost sister who’s sent them packing from Asgard in the hopes of wreaking destruction. Continue reading “Review: Thor: Ragnarok (2017)”
Le Week-End marks somewhat of a return to smarts for director Roger Michell. After helming two disappointments in a row (the mildly entertaining Morning Glory and the dreary Hyde Park On Hudson), Michell reteams with regular screenwriter and friend Hanif Kureishi for their third feature collaboration and an altogether richer affair. Together, they’ve carved a resonant, heartfelt and adult drama that’s exponentially superior to Michell’s aforementioned missteps. Continue reading “Review: Le Week-End (2013)”
Originally titled The Baster, The Switch is an indie romantic-drama from the mind of Allan Loeb, who previously wrote screenplay’s for Things We Lost in the Fire and 21, and is loosely based on a short story by Jeffrey Eugenides.
The film centers on the overly anxious, perplexing and irritating Wally, who’s unmarried 40-year-old best friend, Kassie (Aniston), turns to a turkey baster in order to become pregnant. After moving to Michigan to raise her child, Kassie returns and reunites with Wally, who has been living with a secret: he replaced her preferred sperm sample with his own.
The Switch, which most would label as a female-centred rom-com, instead switches the focus onto the male’s point-of-view. It ponders serious, life-changing questions about pregnancy and fatherhood, in a heartfelt and humorous way. Bateman plays the role of Wally perfectly, highlighting his charming, wry personality in an endearing and well-natured way, showing Bateman has what it takes to carry a high-profile comedy film.
Aniston, in a much-welcomed departure from her previous films, holds her own, providing an appealing, yet restrained performance as a single mother, letting audiences see why she was Hollywood’s sweetheart in the first place. Jeff Goldbum and Juliette Lewis shine in their limited roles, each embodying their characters to the best of their ability, while never outshining the central leads.
Despite the source material being predictable, and the sometimes cringeworthy dialogue, the directors – Will Speck and Josh Gordon – manage to keep the film on track, heading toward an ultimate goal, maintaining the message throughout and never letting the films throwaway moments overshadow the light-hearted, rather brilliant ones that some critics seem to be ignoring.
The Switch may not break any boundaries, or attract a particularly wide audience, but it’s surprisingly funny and sufficiently light-hearted take on an often bland genre. Bateman proves himself as a male lead, while Aniston proves there’s more to her acting range than silly, generic comedies.
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