Well, I did promise to review the other Chalamet film out in theaters. But like me, you’re not going to like it. “The French Dispatch” comes to us from Wes Anderson. That name may be familiar to those who enjoy quirky humor in fractured fairytale-like settings. My personal favorites are “The Royal Tenenbaums,” “The Grand Budapest Hotel,” and “Isle of Dogs.” The aforementioned comedy seems to be lacking in this one. A few chuckles may be had but not enough in this head scratcher.
Taking place in the fictional town of Ennui-sur-Blase (see what I mean), Bill Murray plays the editor of a magazine patterned after The New Yorker. Split into three parts, each one is dedicated to articles which are featured in a final issue. Anderson’s usual cast of characters show up even if in brief cameos. Adrian Brody, Owen Wilson, and Tilda Swinton rub elbows with newcomers. Chalamet plays a student activist alongside journalist Francis McDormand. How can this go wrong with all the pedigree on display? Well, the script betrays them greatly. Much like Christopher Nolan did with “Tenet,” Anderson has made a film for one: him. Even if you spot the many references Wes throws at you in the two-hour run time, it is still a chore to watch.
On the other hand, “Last Night in Soho” is anything but. Edgar Wright, in all his years of directing, can’t ever be boring. His kinetic editing style make his films feel like musicals. “Baby Driver” and “Scott Pilgrim vs. The World” in particular have featured such synergy between sound and choreography. Here we have Ellie, a young woman about to go off to London to study fashion. Thomasin McKenzie imbues her with wide-eyed wonder to the big city when she first gets there. But upon disillusionment, we empathize. It is dropped early that she has an ability to see apparitions which comes into play when she moves into an apartment once owned by a showgirl.
Sandie, played by Anya Taylor-Joy, lives in the swinging Sixties and wants to be the next Petula Clark. Elle steps into Sandie’s life every night, shown through impressive mirror sequences and dance numbers. What starts as a dream quickly becomes a nightmare as Sandie’s life unfolds before Ellie. Mystery deepens as more ghosts reveal themselves. Shades of “Suspiria,” “Repulsion,” and Hammer horror films inform Wright’s approach to the material. Terrence Stamp and Diana Rigg round out the cast, this being her final performance. The film goes a bit off the rails in the final act, however it only fits into Wright’s oeuvre. A very different kind of horror story, sometimes other things can go bump in the night. For those not ready to give up on Halloween yet.
Another specter from another time, “Spencer,” presents three days in the life of Princess Diana during a Christmas holiday. Pablo Larrain puts the same treatment he gave the former first lady in “Jackie.” But much like that film, it all hinges on one person. Kristin Stewart fully realizes the humanity behind the larger-than-life personality. We see her as a mother and a woman despondent with her place in the Royal Family. Their role is small at best and cynical at worst. Only one scene with Charles and another with Queen Elizabeth happen. Diana’s interactions with staff weigh more heavily, especially a head servant played by Timothy Spall who feels like the real enmity.
Poetic atmosphere in the form of a sumptuous score by Jonny Greenwood weaves baroque classical with dissonant jazz depending on emotions present. We are not treated to facts but impressions of Diana’s mental state. A subplot involving Anne Boleyn in spirit form feels out of place at first until the film comes closer to its climax. And what a beautiful end it is. Happy Viewing, Readers!
