Displaying items by tag: Michele Dockery

DOWNTON ABBEY: THE GRAND FINALE

UK, 2025, 125 minutes, Colour.

Michelle Dockery, Hugh Bonneville, Elizabeth McGovern, Joanne Froggatt, Paul Giamatti, Dominic West, Laura Carmichael, Phyllis Logan, Alessandro Nivola, Jim Carter, Penelope Wilton, Joely Richardson, Alan Leech, Robert James-Collier, Simon Russell Beale.

Directed by Simon Curtis.

The title says it all: Downton Abbey: The Grand Finale. But, Julian Fellowes, creator and writer of the series and the movies, invites us to watch it all. And, it is probably all that Downton Abbey audiences are hoping for.

It is 1930. The Great Depression as hit the United States and, because of Cora, Lady Grantham, American, there are repercussions of the Depression for Downton Abbey itself in the upstairs aristocracy that we have come to know as well as the downstairs servants whom we have also got to know very well. And, although divorce statistics have increased, they are not acceptable in the English upper-class. Lady Mary has filed for divorce, unacceptable, she is shunned, but her family and some of the shocked servants, as well as ourselves, are there to support her.

We are introduced to all the familiar characters, so many of them most getting older, especially Lord Grantham, some retiring. And, with the first part of the film set during the season in London, especially with buildings and billboards in Piccadilly Circus, the theatre season as well, we are immersed in the London experience, especially a visit to Bitter Sweet, Noel Coward’s play, and an introduction to Coward himself, many of his songs and lyrics throughout the film and, the presence of the playwright in London and a visit to Downton along with his star, played by Dominic West. In fact, Noel Coward is going to save the day several times throughout this drama - rehabilitating is Mary (and a wry joke about his play, Private Lives) and his brainwave for his play Cavalcade, seen as a potential investment!.

But, back to Downton, beautiful, sumptuous, the beautiful grounds, limbs and decor, grand dinners… As well as all the familiar faces downstairs and the bonds between those upstairs and downstairs, though, dining separately!

And there is the annual affair, the haughty president, quite misogynistic, what meetings, and the challenge from the new cook at Downton, spurred on by a defiant Lady Merton.

The main drama concerns Cora’s brother, Harry, played by Paul Giamatti, arriving at Downton to sort out their mother’s estate, and the revelation that he has lost money, but is accompanied by his grinning American financial adviser, played by Alessandro Nivola. Lady Mary is taken in by him – but we aren’t. And it takes a very striking sequence by Mary’s sister, Edith, talking very straight at him and unmasking him – all at the seasons races Ascot!

With the financial difficulties, Lady Mary is to take over Downton, her parents move aside, and of an era – and, we should mention, the portrait of Violet, glimpsed many times through the film and some footage from the past of Maggie Smith at her imperious best. This film is dedicated to her.

And, at the end, with the various farewells, and the focus on Lady Mary, she treats us to a whole range of her memories, the events of the past, vignettes of the various characters, meaning that this is a very nostalgic farewell.

The grandeur of Downton Abbey and the memories of its aristocratic and comfortable life are very seductive. Most of us surrender as we watch – but, it is seduction because most of us would be very uncomfortable were we invited in real life to Downton, our reaction to the manner and manners of the aristocratic class, the fact that most of us are quite egailitarian in our attitude to society.

At the end, it is almost as if we should start singing  There’ll Always be an England. But history and reality reminds us that while this Downton life still continues, it is diminishing, but are still part of the dreams and fantasies of the 21^st-century audience. So, the film was right in the final credits’ song is Noel Coward’s I’ll See You Again from Bitter Sweet.

(And for trivial pursuit aficionados, the link between director, Simon Curtis, and star, Elizabeth McGovern, is that they were married in 1993 and have two children.)

1. The popularity of the television series and the various films over such a long period? And popular internationally?
2. The settings, the Abbey, exteriors, the grounds, the lavish interiors, upstairs and downstairs? The contrast with the London sequences, flats in the city, the season in London in the late 1920s, early 1930s? And the American connections? The overriding presence of Maggie Smith, references, portraits?
3. Audience familiarity with the main characters, the generations of characters, marriages? And American connections?
4. The downstairs characters, butler, cook, various maids, companions, the details of life downstairs, the etiquette, the cooking, serving, the meals together downstairs? The accepted status quo?
5. The establishing of the characters, the London sequences, the generation getting older, the next generation, financial issues, moves to London, selling properties? The reality of divorce, acceptable or not in British society, attitudes towards Lady Mary? At popular functions, criticisms, denunciations, her having to leave?
6. Back at Downton Abbey, the financial situation, Robert and Cora, reluctance, decisions, the divorce situation, interactions with Mary? The possibility for moving? To London?
7. Mary, the divorce, memories of her husband, working with her sister, the various connections and in-laws, discussions, support?
8. Cora, her brother arriving, memories, funerals, financial issues? Harold bringing Gus, Gus and his American charm, the racing connections, his behaviour with Mary, the affair, Ascot, his horse, the revelations about his being a conman, taking in Harold, his being unmasked and ousted? Background of the Depression in the US and its consequences worldwide?
9. The various complications with the downstairs characters, changes, retirements, audiences identifying with the range of characters?
10. The local stories, Sir Hector and his hold over the socialising and organisations in the district, Isabel Merton, antagonism, the committee, her friendship with the cook, inviting her to be on the committee, the drama at the various meetings, the cook assertive? And the day itself, at the fair, the various competitions, rides and enjoyment, the crowds, and a comeuppance for Sir Hector?
11. The theatre background, Noel Coward, the musical themes, his celebrity, playwright and his film connection, Noel Coward and his companion, the connection with Downton, all the organisation and secrecy to bring Noel Coward to Downton?
12. Noel Coward, his arrival, downstairs, upstairs, his companion, able to move from upstairs to downstairs, the invitation to the staff to come upstairs, the symbolic changing of society in the 1930s? Howard and his influence, financial investment, and ideas for future plays?
13. The farewell to Downton Abbey, Robert and Cora, Mary and her new responsibilities?
14. The wide popularity of these characters and their situations – and, yet, audiences enjoying the fiction but critical of the class differences and realities?

FLIGHT RISK

US, 2025, 91 minutes, Colour.

Michelle Dockery, Topher Grace, Mark Wahlberg, Maaz Ali, Paul Ben-Victor.

Directed by Mel Gibson.

Best to consider first the issue of Mel Gibson, his reputation, personal, as a filmmaker. Many audiences react against Mel Gibson because of his strong views, his anti-Semitic outbursts in the past. (Catholic audiences are probably dismayed by his extreme views about the church, tradition, the inheritance from his father’s Conservative stances but will still go to see and even enjoy his films!).

In fact, Mel Gibson is an Oscar-winning director with Braveheart. He also directed Apocalypto and Hacksaw Ridge which have strong reputations. And, of course, there is The Passion of the Christ.

This 90 minute action show is a long way from these films. Gibson said he wanted to make it for sheer entertainment and that is what it offers. It is reminiscent of a number of films but that is the nature of the popular action show.

While Mark Wahlberg has top billing, above the title, the main strength of the film is with Michelle Dockery, Madolyn, taking some time off from Downton Abbey. She is an officer who has allowed someone to die on her watch and has been suspended, given the opportunity for rehabilitation, going to Alaska to apprehend a key witness against a violent financial criminal. The witness is Winston, played by Topher Grace, a timid desk person but shrewd in his management of money, incessantly chatty, but with the possibility of some kind of redemption and witness protection.

The bulk of the film takes place in the air during a flight across Alaska to Anchorage. Mark Wahlberg plays the good old boy pilot, even having the top of his head shaved which makes him seem more eerie! And, it very quickly emerges that he is not what he seems and, in fact, is a hired killer.

Which means then that there are lots of complications during the flight, guns, knives, but, especially, effective tasering. The plane is rickety, the mountain peaks ominously looming, Madolyn having to fly the plane, on automatic, getting guidance from an official who is flirtatious while giving his advice. Then there is the question of a leak in the department, suspicion on Madolyn’s contact, on her boss, and the taunts of the hitman pilot.

And, there is always the excitement of the crash landing.

Most entertainment action films are made up of elements that we are familiar with but with some variations. Same here.

1. Expectations of Mel Gibson film? Of an action film? Action in the plane?
2. The Alaskan settings, the town, the mountains, the city, the tarmac…? The musical score?
3. Situation, Winston, his background, accounting, doing deals for criminals, under threat? Hiding in Alaska? His personality, chatter, his mother, fearful? Wanted as a witness?
4. Madolyn, her history, the person killed under her watch, suspended, invited back, determined, the confrontation with Winston, taking him in? The plane flight to New York? Her contact with Janine through phone? Some suspicions of her? Contact with Coleridge the boss? The discovery of the truth? The ruthlessness, Janine’s death?
5. The plane, the pilot, Mark Wahlberg, jovial old boy, the bald head? The chatter, the blood? Madolyn realising the truth, pulling the gun, the struggle, Tasering him? The reality of his being a hit man, knowing all about her, taunting her? The fights, tying him up, the spectacles, cutting loose? His personality, taunting?
6. The pilot loose, the fight, Winston and the knife, his being stabbed?
7. Madolyn, using her wits, strength, talking with Winston, the threats to him, untying him? The personal story, his mother? Autopilot? Talking with Janine, talking with Coleridge? The discussions with Hasan, jovial, flirting, his helping her land?
8. The dramatic issues, the fights, the mountains, fuel diminishing, the landing, the wind, the crashing, the pilot thrown out, run over by the vehicle?
9. Landing, the hospital for Winston, her meeting Hasan? The threats by Coleridge, her recording them? Vindication?

BOY KILLS WORLD

US, 2023, 111 minutes, Colour.

Bill  Skarsgaard, Jessica Rothe, Michelle Dockery, Brett Gelman, Isaiah Mustafa, Yayan Ruhian, Quinn Copeland, Sharlto Copley, Famke Janssen. Voice: H.Jon Benjamin.

Directed by Moritz Mohr.

It is probably best to give an alert immediately. This is an action fantasy but at times it is a wallow in what a clockwork Orange calls "a bit of the ultra-violence," which can best be defined as excessive or even over the top levels of brutality – Alex and his droogs would certainly enjoy it.

This is a highly macho show, not much female interest until the finale, but the filmmakers seem to have a younger audience in mind, a macho junior kind of entertainment.

Throughout the film, with its totalitarian futuristic city, its purge, this time called “The Culling”, with its initial reminders of The Hunger Games, and, in the latter part, a television musical special parallel with the gladiatorial combats of The Hunger Games, there were constant reminders of Graphic Novels, the panels of cartoon action, the dialogue in the bubble of the cartoon panel. Which means, of course, that it is not meant to be taken as realistic in any way. It is a fantasy.

Then, the final credits are exactly that, a whole range of cartoon characters and action, of graphic novel comic panels, the instant action, the cartoon-style dialogue, the stylised impact.

The overall plot is basically interesting, an explanation of the domination of the leader, Hilda Van Der Koy (Famke Janssen) the ruthlessness of The Culling, the execution of a very nice family, the survival of the boy (Bill Skarsgaard, Pennywise in the It movies), his being trained by a shaman in the jungle, lots of episodes of martial arts, combat, motivation to have his revenge on Hilda Van Der Koy. The boy is deaf but there is an inner gruffly aggressive voice, and regular appearances of his executed little sister, a kind of Anama figure trying to control his passionately aggressive Animus.

In fact, the action gets very quickly into the attack, and here is the wallow in the ultraviolence, combats, fights, deaths galore. There are also some nasty characters, Sharlto Copley as Glenn, a clownish spokesman on behalf of the regime, violently ruthless, but then we see his even more ruthless wife, in control of the state, Melanie Van Der Koy, Michelle Dockery a long way from Lady Mary at Downton Abbey. But, the boy finds two allies who are able to join him in the combats, rescue him when captured, lead to the final confrontation.

And, it takes place in the staging of a television special, song and dance, vast sets, studio audience (definitely reminding us of The Hunger Games) but the victims of the culling on stage and being hunted down and killed ruthlessly. But, when the boy and his associates go into action, the villains being hunted down and killed even more ruthlessly.

Perhaps a word that needs to be introduced into reviews of this kind of action show is “slaughter”.

However, interest is certainly raised when there is quite an unexpected twist at the end, dramatic.

The office of classification has given Boy Kills World an MA certificate, and references blood and gore.