johnny_ultimate
Joined Jun 2005
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johnny_ultimate's rating
If ever a film was wonderfully summarised in a title, it is Happy-Go-Lucky. Those five syllables perfect describe the light and breezy tone of this film, and quite possibly how you will feel as you leave the cinema. This is a movie that admirably celebrates optimism, which I for one found a nice relief in an age where even Hollywood blockbusters strive to be dark and cynical.
At first, I didn't really think I was going to enjoy Happy-Go-Lucky. The opening few minutes have a couple of attempts at humour that fall rather flat: not really a positive sign in a comedy-drama. And then there is a sequence illustrating a stereotypical, painful night out: the drunken ramblings of a coven of irritating witches prove to be an instant turn-off that creates little sympathy towards Poppy, our chirpy protagonist.
But luckily Happy-Go-Lucky is a slow burner: it just takes a little while to adjust to Poppy's world. It is Poppy (or Pauline) herself that will likely begin to conjure up some goodwill. Her cheery, often illogical optimism is a difficult trait to pull off, but Sally Hawkins gives a truly exceptional performance. Poppy is an oddity in London: a woman who has decided to be endlessly upbeat in a city of dreariness and unfriendliness. Her primary coloured clothes are in sharp contrast to the grey, apathetic streets and people around her, while her constant attempts at light humour and banter are often dismissed by those she tries to cheer up. Admittedly, she does often come across as annoying and excessive, but this simply strengthens her character: she is a solid mix of likable quirks and annoying habits. Her good-will even in the most difficult of situations (one sequence where she attempts to talk to a homeless drunkard sticks out) becomes endearing, and you may well find yourself cheering her on sooner than expected. She is a multi-layered character: her motivations admirable, her outlook likable. Most importantly she is a very strong, independent person who is entirely happy with her life, and the character is more than capable of holding the film together. Hawkins' portrayal works brilliantly, and her performance is one of the most charming and memorable in quite some time.
Poppy holds the story together, and it is a great relief that her character is so compelling, as the narrative relies on her completely. Indeed, the 'story' is almost non-existent, and is simply a few chapters in the day to day life of our protagonist. The film simply comprises of a number of vignettes in Poppy's life. It documents her day-to-day encounters: dealing with a troubled boy in the class she teaches, her bizarre dancing lessons, her sojourns with an intense driving instructor. More than anything, these mini-tales try and portray the way in which Poppy tries to retain her optimism in the face of an often bleak reality. Perhaps the central story is the one focusing on her driving lessons with a racist, emotionally fragile instructor. These Saturday excursions are the best examples of the film's thematic concerns: the difficulty of remaining optimistic in a pessimistic world. While Poppy's refusal to drop her friendly mannerisms often put her at risk, ultimately her cheery attitude keeps her safe and wins over the many other characters she encounters. Director Mike Leigh seemingly urges the audience to try and be friendly in an increasingly unfriendly world through his sympathetic portrayal of Polly, which seems to me to be an entirely refreshing moral! There are dark hints throughout the film: there are subtle references to child abuse, alcoholism, obsession and other bleak issues. But these are an integral part of the film that reinforce the general happy mood. The cinematography reinforces this often quite subtle, it makes terrific use of colour to give Poppy a central presence. Her multi-coloured clothing and her flatmate's yellow car make her stand out instantly. It is also quite a funny little movie when it wants to be: the humour is quirky and offbeat, but Leigh will likely succeed in making you laugh through his bizarre characters and situations. Driving instructor Scott's repeated refrain of Enraha is a great running joke, while the sometimes ridiculous mannerisms of Poppy are often good for a chuckle.
There are one or two issues that should be raised. Some of the sequences seem a little redundant: in particular a final-act romance that seems somewhat surplus to requirements (although it is thankfully brief). The ancillary characters sometimes seem to lack depth: Poppy's younger sister in particular. And the previously mentioned weak start is an obstacle that has to be overcome to reveal the real depth and subtlety the film has to offer.
Happy-Go-Lucky is a sprightly little film that is a truly uplifting experience. True a fantastically realised lead character, it has a lot to say about the increasing depersonalisation of contemporary society. The messages are subtle and careful, despite the excessiveness of Poppy. The film is far deeper than appearances may suggest, and while it is a very enjoyable two hours, it also lends itself to more detail examination. Catch this in the right mood and Happy-Go-Lucky's big heart (symbolised by Poppy's necklace) may just win you over.
At first, I didn't really think I was going to enjoy Happy-Go-Lucky. The opening few minutes have a couple of attempts at humour that fall rather flat: not really a positive sign in a comedy-drama. And then there is a sequence illustrating a stereotypical, painful night out: the drunken ramblings of a coven of irritating witches prove to be an instant turn-off that creates little sympathy towards Poppy, our chirpy protagonist.
But luckily Happy-Go-Lucky is a slow burner: it just takes a little while to adjust to Poppy's world. It is Poppy (or Pauline) herself that will likely begin to conjure up some goodwill. Her cheery, often illogical optimism is a difficult trait to pull off, but Sally Hawkins gives a truly exceptional performance. Poppy is an oddity in London: a woman who has decided to be endlessly upbeat in a city of dreariness and unfriendliness. Her primary coloured clothes are in sharp contrast to the grey, apathetic streets and people around her, while her constant attempts at light humour and banter are often dismissed by those she tries to cheer up. Admittedly, she does often come across as annoying and excessive, but this simply strengthens her character: she is a solid mix of likable quirks and annoying habits. Her good-will even in the most difficult of situations (one sequence where she attempts to talk to a homeless drunkard sticks out) becomes endearing, and you may well find yourself cheering her on sooner than expected. She is a multi-layered character: her motivations admirable, her outlook likable. Most importantly she is a very strong, independent person who is entirely happy with her life, and the character is more than capable of holding the film together. Hawkins' portrayal works brilliantly, and her performance is one of the most charming and memorable in quite some time.
Poppy holds the story together, and it is a great relief that her character is so compelling, as the narrative relies on her completely. Indeed, the 'story' is almost non-existent, and is simply a few chapters in the day to day life of our protagonist. The film simply comprises of a number of vignettes in Poppy's life. It documents her day-to-day encounters: dealing with a troubled boy in the class she teaches, her bizarre dancing lessons, her sojourns with an intense driving instructor. More than anything, these mini-tales try and portray the way in which Poppy tries to retain her optimism in the face of an often bleak reality. Perhaps the central story is the one focusing on her driving lessons with a racist, emotionally fragile instructor. These Saturday excursions are the best examples of the film's thematic concerns: the difficulty of remaining optimistic in a pessimistic world. While Poppy's refusal to drop her friendly mannerisms often put her at risk, ultimately her cheery attitude keeps her safe and wins over the many other characters she encounters. Director Mike Leigh seemingly urges the audience to try and be friendly in an increasingly unfriendly world through his sympathetic portrayal of Polly, which seems to me to be an entirely refreshing moral! There are dark hints throughout the film: there are subtle references to child abuse, alcoholism, obsession and other bleak issues. But these are an integral part of the film that reinforce the general happy mood. The cinematography reinforces this often quite subtle, it makes terrific use of colour to give Poppy a central presence. Her multi-coloured clothing and her flatmate's yellow car make her stand out instantly. It is also quite a funny little movie when it wants to be: the humour is quirky and offbeat, but Leigh will likely succeed in making you laugh through his bizarre characters and situations. Driving instructor Scott's repeated refrain of Enraha is a great running joke, while the sometimes ridiculous mannerisms of Poppy are often good for a chuckle.
There are one or two issues that should be raised. Some of the sequences seem a little redundant: in particular a final-act romance that seems somewhat surplus to requirements (although it is thankfully brief). The ancillary characters sometimes seem to lack depth: Poppy's younger sister in particular. And the previously mentioned weak start is an obstacle that has to be overcome to reveal the real depth and subtlety the film has to offer.
Happy-Go-Lucky is a sprightly little film that is a truly uplifting experience. True a fantastically realised lead character, it has a lot to say about the increasing depersonalisation of contemporary society. The messages are subtle and careful, despite the excessiveness of Poppy. The film is far deeper than appearances may suggest, and while it is a very enjoyable two hours, it also lends itself to more detail examination. Catch this in the right mood and Happy-Go-Lucky's big heart (symbolised by Poppy's necklace) may just win you over.
I'm a huge fan of the first "pirates", because it was just a helluva lot of fun. Luckily the sequel retains the sense of fun of the prequel. However, it lacks the surprise the unexpectedly brilliant first did. That's not to say that this is a poor film. Not at all. Indeed, the central action sequences (the island escape near the beginning and the climatic big wheel sequence especially) are terrific, with an excellent sense of humor that had me laughing out loud, to use that annoying internet phrase. The CGI is excellent, especially Davy Jones himself. And of course, Johnny Depp. What can I say, this man deserves an Oscar for his wonderfully campy Captain Jack - he was so cruelly denied one first time around.
Yet this film is not perfect. The film begins very slowly indeed, taking a good half hour to really kick off, with some confusing plot strands required to set up sequences of events (indeed, the whole cast is not reunited until well past halfway into the film). Yet the major problem lies in the poor casting of Orlando Bloom, whose quite frankly irritating hero struggles to hold the screen when Capn Jack is absent.
Overall however, this is a fine film. The surprisingly lengthy running time flies by, and Pirates is many times more enjoyable than 90% of other blockbusters due to it's sense of humor, style and fun. I must admit I'm looking forward to chapter three of this continuing quality franchise.
Yet this film is not perfect. The film begins very slowly indeed, taking a good half hour to really kick off, with some confusing plot strands required to set up sequences of events (indeed, the whole cast is not reunited until well past halfway into the film). Yet the major problem lies in the poor casting of Orlando Bloom, whose quite frankly irritating hero struggles to hold the screen when Capn Jack is absent.
Overall however, this is a fine film. The surprisingly lengthy running time flies by, and Pirates is many times more enjoyable than 90% of other blockbusters due to it's sense of humor, style and fun. I must admit I'm looking forward to chapter three of this continuing quality franchise.
It's always the good ones that get overlooked.
This is arguably the most sublime, awe-inspiring, playable adventure of this generation of consoles. It plays like a sci-fi version of Zelda, only much more cinematic and less mention of elves. The graphics are quite simply jaw dropping, with a whole world - including the animals, the environments, the people, and space (!!!) - rendered in an utterly believable way.
The characters are the most likable bunch you could hope for. From Jade, the main character trying to uncover a vast conspiracy, to Pey'J, your friendly talking pig sidekick, through to even the most minor of characters, you build a connection with many of the different characters.
The music is absolutely stunning, with cinematic themes acting as a powerful backdrop to the game play. And some game play it is. With a wide amount of game types - platformer, action, racing, photography, puzzler, and at the end space battle - it's a game bursting with variety.
The only problem is it's length - at around 10 hours you want more. But while it lasts it's complete perfection. A game like none other awaits you. That it didn't sell enough to warrant the planned trilogy is one of the greatest shames in video game history.
This is arguably the most sublime, awe-inspiring, playable adventure of this generation of consoles. It plays like a sci-fi version of Zelda, only much more cinematic and less mention of elves. The graphics are quite simply jaw dropping, with a whole world - including the animals, the environments, the people, and space (!!!) - rendered in an utterly believable way.
The characters are the most likable bunch you could hope for. From Jade, the main character trying to uncover a vast conspiracy, to Pey'J, your friendly talking pig sidekick, through to even the most minor of characters, you build a connection with many of the different characters.
The music is absolutely stunning, with cinematic themes acting as a powerful backdrop to the game play. And some game play it is. With a wide amount of game types - platformer, action, racing, photography, puzzler, and at the end space battle - it's a game bursting with variety.
The only problem is it's length - at around 10 hours you want more. But while it lasts it's complete perfection. A game like none other awaits you. That it didn't sell enough to warrant the planned trilogy is one of the greatest shames in video game history.