Gritty drama For Those In Peril leads the nominations at this year's (13) BAFTA Scotland awards with four nods. Paul Wright's movie, about a loner blamed for a tragedy on a remote Scottish fishing island, is up for Best Film, Best Director, Best Writer and Best Actor/Actress (Film) for its lead George MacKay.
The young star will face competition from Martin Compston (The Wee Man) and Iain De Caestecker (Not Another Happy Ending), while the film will be up against The Wee Man and Fire In The Night.
Wright will fight for the Best Director prize against Kenny Glenaan (Case Histories) and Emma Davie and Morag McKinnon (I Am Breathing).
Ford Kiernan (The Field of Blood: The Dead Hour), Peter Mullan (The Fear), and Sharon Rooney (My Mad Fat Diary) are all nominated in the Best Actor/Actress (TV) section.
The ceremony, which celebrates the best of Scottish entertainment talent, will take place in Glasgow on 17 November (13).
Based on Ian McEwan’s equally stirring novel we begin the story in 1935 on the cusp of WWII. Briony Tallis (Saoirse Ronan) a 13-year-old fledgling writer lives with her wealthy family in their enormous English country mansion and on one hot summer day she irrevocably changes the course of three lives including her own. It seems the housekeeper’s son Robbie Turner (James McAvoy) carries a torch for Briony’s older sister Cecilia (Keira Knightley). And on this warm day it becomes clear she feels the same way; their love ignites. Little Briony who harbors her own secret crush on Robbie witnesses the beginnings of this love affair and not understanding its meaning feels compelled to interfere going so far as accusing Robbie of a crime he did not commit. He is arrested and whisked away eventually forced into the British army but thankfully the two lovers have a moment before he goes to war to reconnect. Cecilia promises to wait for him urging him to “come back” to her once the madness he is about to become immersed in is over. Meanwhile Briony (played in adult years by Romola Garai and Vanessa Redgrave) has grown up regretting every single moment of that fateful day and in desperately trying to seek forgiveness finally finds a path to understanding the power of enduring love. The performances in Atonement are nothing less than captivating beginning with the young Irish rose Saoirse Ronan (who is also set to play the lead in Peter Jackson’s The Lovely Bones). Since it is primarily Briony’s story Ronan must make the first most indelible impression and set the tone for the rest of the movie--and she succeeds on every level. From the moment you see Ronan’s pale face clear-blue eyes and steadfast gait you immediately recognize Briony’s need and determination to make everything in her life just so. Indeed Briony is a strongly focused child and Ronan so embodies the character an Oscar nomination is almost a certainty. As the 18-year-old Briony Garai (Dirty Dancing 2) does the best she can following such a tough act as Ronan but can never quite match the same intensity. On the other hand Redgrave who comes in at the very end as the much older Briony nails it right away adding her own nuances to a character who has lived a full life. Of course Knightley and McAvoy are no slouches either vividly capturing the passion bubbling up between Cecilia and Robbie then turning around and showing the heartache as their love is ripped apart. McAvoy is particularly effecting as his Robbie must also witness some truly horrific wartime scenes. Actually Oscar nods should come fast and furious for everyone in Atonement. With Pride & Prejudice and now Atonement director Joe Wright may have just established himself as the new James Ivory (of Merchant/Ivory fame). Wright is a real visionary for the romantic period piece expertly delivering truly spectacular vistas. From set design to costumes to cinematography the look of Atonement is at once verdant welcoming and then startlingly grim. The first half of Atonement at the Tallis’ country home is certainly the film’s most defining peppered by an effective musical score which uses the sound of a typewriter like a metronome. Through a soft lens Wright displays the general idleness of summer day at a country home like a sunny floral motif that belies an undercurrent of sweating bodies wilting flowers stagnant pools--and an imminent tragic event. Then once Wright moves with Robbie into WWII he actually paints an even more grim view of war then maybe seen before. The one continuous shot of the historical Dunkirk--a French beach on which thousands of British soldiers were forced by the Germans and then waited to be evacuated--is absolutely stunning and surreal. Atonement does drag ever-so-slightly in the middle especially as Briony trains to be a nurse in London but overall this is a film Academy voters eat up with a silver spoon. Expect to be hearing about it in the months to come.
Based on E.B. White’s enduring children’s story we meet Wilbur the Pig (Dominic Scott Kay) a runt who is saved from the axe by a little farm girl named Fern (Dakota Fanning). She raises Wilbur from infancy but eventually she has to send Wilbur over to her uncle’s neighboring farm since there’s no room for a pig in her house. There in the barn Wilbur meets the assortment of colorful animal characters: Betsy (Reba McEntire) and Bitsy (Kathy Bates) two pessimistic cows; motherly goose Gussy (Oprah Winfrey) and her henpecked hubby Golly (Cedric the Entertainer); Samuel (John Cleese) an uptight sheep; the skittish horse Ike (Robert Redford); the self-serving rat Templeton (Steve Buscemi); and of course sweet Charlotte (Julia Roberts) a spider with a heart of gold. When the naïve Wilbur finds out he might be Christmas dinner Charlotte makes a promise to her new friend that she’ll do everything in her power to make sure Wilbur sees the Christmas snow—and everyone ends up helping her out. What could be more fun than to voice a barnyard animal? Winfrey and Cedric’s geese banter is like an old married couple. Cleese gives Samuel the sheep a certain upper-crustiness. Redford is actually pretty funny as a horse who’s deathly afraid of spiders (“I’ll listen to you but I just can’t look at you”). Buscemi is a particularly nice choice as the sneaky rat Templeton who only thinks about filling his belly with food (no typecasting there we swear). For pure comic relief there are also two crows voiced by Andre Benjamin and Thomas Haden Church who just can’t quite get around the whole scarecrow thing. And as Charlotte Roberts has a truly soothing and loving tone sort of how you’d imagine it from the book. As for the human aspect Fanning continues to do what she does best playing Fern with the right amount of youthful innocence spunkiness and determination. Just wondering how we are going to handle it when this amazing little actress grows up and starts doing like adult things. Actually it is sort of a shame they couldn’t get a live-action version of Charlotte's Web made before Babe. Sure there was the 1973 animated cutesy film but a live-action adaptation of this timeless tale really should have been the standard by which all computer-generated talking farm animal movies would follow don’t you think? Instead Charlotte's Web pales ever so slightly in comparison. Oh well water under the bridge. Director Gary Winick (13 Going on 30) still manages to invoke the wonderful and uplifting spirit of the novel keeping faithful to the text in all ways. Visually the film is crisp and flawless in its execution particularly in the beauty and splendor of how Charlotte spins her webs and emotionally hearts will indeed swell and tears will flow. Charlotte's Web is the perfect family movie to inspire the next generation of young readers and viewers as well as for the rest of us who fondly remember the childhood classic.
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.