Review: The Greatest Showman

Hugh Jackman retired his claws and ran away to join the circus in the new film, The Greatest Showman. The film chronicles the man who gave birth to the big top, Phineas Taylor (P.T.) Barnum, who didn’t come from much but was ambitious enough to risk everything he and his family had to open up a museum of wonders in New York and bring joy to those who would come.

Director Michael Gracey and writers Bill Condon and Jenny Bicks ran off and told the story of how the first circus came into being. How it all started with a man who came from nothing, driven by a promise he made to the girl who would become his wife and the urge to entertain, collected outcasts and misfits and turned them into something that no one else has ever seen before.

The Greatest Showman is powered first and foremost by the galaxy of stars that round out its cast. Hugh Jackman in the center ring, aided by Michelle Williams, Zac Efron, Zendaya, Rebecca Ferguson, Keala Settle, Sam Humphrey, Yahya Abdul-Matteen II, Eric Anderson, Austin Johnson, Cameron Seely, Ellis Rubin and Skylar Dunn round out a very talented and diverse cast of performers that give this movie lungs strong enough to make their voices heard.

The film is at its strongest when music is playing and/or when songs are sung. John Debney and Joseph Trapanese accompanied with songwriters Benj Pasek and Justin Paul deliver a soundtrack that will linger with audiences for a long time. In fact, I believe this movie has a potential frontrunner to win Best Original Song for the track This is Me.

Ultimately, if I could find the best way to describe The Greatest Showman, it would be to say that it is wasteful. Gracey, Condon and Bicks have the talent and the music to make this movie stand out but I feel that because of how it’s written, it feels like it wastes the gifts it were given.

This movie itself is a circus of subplots that are juggled together so dangerously, it feels like it’s standing on a knife’s edge, ready to fall apart. In it, you have a rags-to-riches tale, mixed with a star-crossed lovers drama, a forbidden love scandal, an underdog story and the movie just falls to balance everything appropriately while interweaving between them and I think there were a lot of missed opportunities worth exploring in the writing of this picture.

The production value of The Greatest Showman is a mixed bag. Seamus McGarvey’s cinematography is well done but I think there were too many cooks in the kitchen as far as the editing was concerned; Tom Cross, Robert Duffy, Joe Hutshing, Michael McCusker, Jon Poll and Spencer Susser were all credited with editing this film, the production design, courtesy of Nathan Crowley seemed a bit too neat for the setting and Laura Ballinger’s art direction didn’t take enough risks. Ellen Mirojnick’s costumes were lovely and the make-up team did nice work.

I was entertained to a certain extent with The Greatest Showman but I didn’t feel as though all the pieces of the picture didn’t fit together, so in summary, I believe the showman did a nice job. The rest of the show? Meh.


Review: Dunkirk

The man who gave audiences Memento, The Dark Knight Trilogy, Inception, The Prestige and Interstellar returns to take audiences back in time to a small, but not insignificant chapter in the history of World War II.

Nazi Germany has enveloped 400,000 French and British soldiers to the beaches of Dunkirk and the possibility of escape is practically perilous in every direction. Pinned to just one location, the enemy takes their time picking off their forces and destroying whatever hope of escape in their wake. Land, sea and air, the Allied Forces are in a bind, and the British government at the order of Prime Minister Churchill has little alternative but to requisition and commandeer civilian water craft to travel across the channel and bring their boys home.

Christopher Nolan’s take on these accounts is segmented into three perspectives on this account of history. The Mole follows a young French and British soldier navigating the beaches trying to find someway back home; The Sea features a father and son and a friend in their sea vessel crossing the channel upon hearing the order to rescue as many men as they can; The Air follows two fighter pilots soaring through the skies above the madness, shooting down German fighter planes bent on sinking anything that floats. These three perspectives all tie together to illustrate the power of the human instinct of survival. These three perspectives are the crux of Christopher Nolan’s Dunkirk.


Image by Warner Bros. and Syncopy

Nolan told this story in three parts; I will describe this movie in three words: elegant, explosive and unyielding.

Going into this movie, I was concerned that Nolan’s take on this war story would be too clean and that might hinder its appeal as a war movie when compared to a classic war dramas such as Saving Private Ryan, The Hurt Locker or last year’s Oscar winning Hacksaw Ridge because those movies truly captured the essences of war; the gore, the graphic imagery, the bloodshed, the need to illustrate that war is hell upon seeing it unfold all around the characters for the audiences to witness themselves. Dunkirk was my boom or bust movie of the year and after seeing it, in IMAX which is the way it was intended to be seen, this movie went BOOM! A loud, resonating BOOM upon the senses that did not let up in the slightest!

My concerns going into this movie? Decimated as I watched it unfold before my eyes! Just because Nolan didn’t go excessive on bloodshed, doesn’t mean he hindered this movie; you don’t need blood or grandiose practical effects to illustrate the horrors of war! Every time a bullet fired, I jumped. Every time I saw a bomb go off or a missile or a torpedo down a ship, I was jolted. Every time a dogfight happened in the sky, I held my breath! Every time the situation became more and more dire in these three arcs, the tension just kept building and building and the suspense was as remorseless like the wind and rain in a hurricane! Nolan just brought his strengths as a filmmaker and storyteller to depict a “back against the wall” situation where individuals had to use whatever resources they could to see tomorrow and the need for bodily harm or horror was not necessary in the slightest to accomplish that.

What’s more impressive about Dunkirk is that the enemy’s presence is felt rather than seen. From the first frame, audiences see the little fliers floating from the sky onto the soldiers saying “We surround you!” you don’t see the enemy, but the presence of danger is felt every second and the tension of this film feeds off that tension for strength.

Nolan intended for Dunkirk to be seen as a story of survival and he wrote and executed this core aspect of the picture with extraordinary distinction! The focus of Dunkirk was never about winning, it was about bringing these soldiers home from extreme danger and knowing that in surviving, they were victorious! I had my doubts whether or not he could pull this off but with this powerful script, impeccable execution, the stunning cinematography of Hoyte van Hoytema, the awesome music of Hans Zimmer giving this picture atmosphere where dialogue is scarce, the sound effects, Lee Smith’s editing which came together beautifully as the film went on, Nathan Crowley’s production design, Dunkirk is an outstanding achievement in filmmaking and should become the crown jewel in Christopher Nolan’s body of work so far.

This movie isn’t so much about the actors but what the actors do in the film, in these roles. The collection of Fionn Whitehead, Damien Bonnard, Aneurin Barnard, Barry Keoghan, Mark Rylance, Tom Glynn-Carney, Tom Hardy, Jack Lowden, Kenneth Branagh, James D’Arcy, Cillian Murphy and Harry Styles all do a solid job with the parts they have been given, but the true star of the show is the suspense and the tension that fills up the screen when all of the technical aspects behind the camera come together.

Dunkirk is elegant is how it is shown and heard on screen but the subject matter is brimming with explosive technical execution, resulting in an unyielding cinematic experience that should not be missed! It is the most phenomenal experience I have had this year at the movies!