Ralph Fiennes hasn’t been given many chances to act silly. Even his lighter roles end up heavy, which is why his filmography is built on Schindler’s Lists and English Patients. It begs the question of how Wes Anderson landed on Fiennes for his M. Gustave, whose kooky concierge is the comedic axis of the film? — a question answered promptly with a hundred minutes of Fiennes’ inexhaustible talent and charm. This may be Anderson’s purest comedy to date, which says any number of things about the director — he’s lightening up, he’s more interested in genre, he understands how hilarious Willem Dafoe will look with a false, canine-heavy underbite. The Grand Budapest Hotel is another minutely detailed, masterfully constructed film from Wes Anderson, and a reminder that he’s almost certainly the most meticulous director working today.
Tag Archives: Ralph Fiennes
There’s a tendency to think of film as a superior medium or art form to television. To think of it as (mostly) having more integrity. While this may be true to an extent, one arena where film simply can’t compete is in subtle, measured character development. TV shows like Six Feet Under or Breaking Bad utilize their serial nature to not only develop characters within episodes, but across immense, series-long journeys. Film rarely has the ability or opportunity to challenge TV in this regard, which is what (among many, many other things) makes the Harry Potter franchise so unique. While the films have created a truly remarkable reality from the internationally-celebrated source material, it is our personal investment in the journey that matters most. Watching these characters grow together, learn, experience hardship and be heroic is a nearly unparalleled experience, and in the latest and last, Harry Potter and the Deathly Hallows: Part Two, that experience closes in an at once immensely satisfying and desperately harrowing finale.
Clash of the Titans is a train wreck; a 180 million dollar plus train wreck, where the train is painted bright red with flames on the side, and filled with thousands of faceless extras, and the sky is wholly computer generated for no good reason, and Sam Worthington is the conductor, and he’s yelling…a lot.