As many filmgoers know sequels can sometimes be disappointing. Others, however, are superb – as Finding Dory, the prequel/sequel to Finding Nemo – was. See A Feast of Tales’ review of that film here https://wp.me/p4c1s1-dF.
An upcoming sequel which opens at cinemas in South Africa on 1 December is Paddington 2. This sequel, likewise, is excellent. Perhaps even better than the first film Paddington. The action opens showing Paddington (the voice of Ben Whishaw) as a happy and accepted part of the Brown family. Still faithful to his ‘bear’ family, however, Paddington longs to honour his Great Aunt’s upcoming birthday by sending her a special gift from London. He finds an unusual pop-up book depicting famous London landmarks in Mr Gruber’s antique shop and settles on that. But the book is expensive and Paddington has to save up enough money by working. He sets about it with his usual penchant for creating unintended disasters and is finally close enough to buying the book. But someone else who wants the book – for obviously shadowy reasons – is the pompous, fake showman Phoenix Buchanan (Hugh Grant). Before Paddington can buy the book it is stolen from Mr Gruber’s shop, Paddington is framed for the theft and he is sent to prison. Horrors!
No worries there. While the cooky Brown family embark on the difficult task of finding the real thief and proving Paddington’s innocence, Paddington, with his usual unfailing good manners, makes friends in prison. He even wins over the fearful chef Knuckles McGinty (Brendan Gleeson), teaches him to make marmalade and makes prison a jolly charming place to be. A series of adventures involving escape, capture, fearful train journeys and determination lead to a happy conclusion.
Paddington 2 is charming, lovely family entertainment. Paddington’s politeness and honesty, and his commitment to family, highlight values worth exposing young children to. It opens at Ster Kinekor on 1 December just in time for the long school holidays. Don’t miss it.
By Brenda Daniels
Three films, already out on DVD, all reflect an interest in words.
In the first of the three that I watched recently, Academy Award winner, Julianne Moore plays Alice, a character who experiences the devastation of Alzheimer’s disease. Diagnosed at the early age of 50, Alice’s deterioration is scarily swift. From momentarily forgetting words to not recognising landmarks, Alice quickly begins to suffer the ignominy of not being able to find the bathroom and of greeting her own daughter like a stranger. Still Alice delivers its message all the more poignantly by casting its lead character in the role of a linguistics professor who has written a book about communication. When elaborating on his diagnosis Alice’s doctor tells her that symptoms of this strange illness can be even more rapid in the highly educated. Very sobering indeed.
Not nearly as believable or worth watching is Stuck in Love, starring Greg Kinnear, Lily Collins and Nat Wolff. In this film a father and his two children are all writers. Each of them writes (or experiences writer’s block) in response to their love or antipathy for the wife and mother (Jennifer Connelly) who “deserted” them some years before. Positing love as the artist’s muse is not a new idea by any means. But in Stuck in Love the portrayal is a bit ridiculous and makes a mockery of the hard work, as opposed to sentiment, that “inspires” writers.
In a way it is hard work that does inspire writing in The Rewrite. In this movie Hugh Grant plays scriptwriter, Keith Michaels, who simply can’t come up with a sequel to his first successful script. He is shipped off to the other side of the country to take up a job as a writer-in-residence at a small university. Here his lackadaisical attitude quickly gets him into trouble. It takes the writing output of his own students to help Keith turn his life around. Their scripts help him realise that, contrary to his initial thoughts, writing can be taught (not just caught) and their positive response to his teaching proves to be the catalyst for his next script.
In Still Alice and The Rewrite there is clear character development. In The Rewrite Keith realises his own and others’ value through his recapturing of the written word. In Still Alice, Alice remains, to herself and her family, still Alice despite her sad loss of words.