Category / Classics

by theactivespectator

Isle of Dogs – Review

Cast: Bryan Cranston, Koyu Rankin, Bob Balaban, Edward Norton, Bill Murray, Frances McDormand and Akira Takayama
Directed by Wes Anderson
Written by Wes Anderson, Jason Schwartzman, Roman Coppola and Kunichi Nomura
Length: 101mins

After the ever-lovable success of Fantastic Mr. Fox in 2013, Wes Anderson returned to the stop-motion format back in 2018 with ‘Isle of Dogs’, a tale of one young boy who just wants to get back the pet which was stolen from him – ever-loyal ‘Spots’. In his way, however, lies the vengeful nature of his Uncle, the mayor of the city, who is absolutely more a cat than a dog person.

Wes Anderson’s work has been described time and time again as whimsical, quirky and nostalgic. To say ‘Isle of Dogs’ is any different would be denying the obvious, but that doesn’t lessen the impact of the film in any way. The charm of the handcrafted characters, the endearing dialogue which reads like a storybook, as well as the constant feeling of adventure, with anthropomorphised canines and adolescents piloting planes, contribute equally to a story of action, emotion and humour.

With segments from classic Japanese films such as ‘Seven Samurai’ and ‘Drunken Angel’ layered within the score, composer Alexandre Desplat creates a rhythmic soundscape of ritualistic drums and chants which create a constant feeling of motion and intensity within the narrative. The score is utilised to great effect, whether that be in the exaggeration of a corrupt mayor’s malpractice, or to reflect the regular footsteps of Atari and his companions as they summit peaks along Trash Island.

Wes Anderson has been known as divisive director, with some falling head-over-heels for his overdramatised detail and childlike whimsy, whilst others struggle to see the quirks as anything more than irksome. For me, the first description rings true, and although ‘Isle of Dogs’ may not live up to the grander storyline of ‘The Grand Budapest Hotel,’ or be as visually spectacular as ‘Fantastic Mr. Fox’, this is a film which I could return to over and over again, and will always hold a special place in my heart. 

by theactivespectator

Jaws – Review

Rating: 12A
Cast: Roy Scheider, Richard Dreyfuss, Robert Shaw, Murray Hamilton and Lorraine Gray
Directed by Steven Spielberg
Written by Peter Benchley and Carl Gottlieb
Length: 124mins

After forty-seven years of returning to the big screen, the original, and perhaps most iconic blockbuster takes its place amongst the cinema listings once again, with a 4K restoration which promises to bring the enigmatically large molars of its title into greater definition and grandeur than ever. Of course, this is a film remembered for its terrifying Great White more than anything else, but if time has proven one thing, it’s that the exceptional writing and compelling characters which brings this tale of man versus shark to the front of the billing time and time again.

Speaking of characters, we’ll start with the residents of the idyllic Amity Island – our primary setting for half of the film. Chief Brody is a strong, well-tanned protagonist who seems all set to lead the battle against the threat upon his precinct, save for the fact that he’s constantly too tentative to go near the water, pulling on garishly yellow life preservers, and being shown to appear un-authoritative in the face of his more senior officials. Spielberg and fellow writers Peter Benchley and Carl Gottlieb carve out a contradictory character who the audience find a level of relatability towards, and use this empathy to create a great leader who must overcome his fears to defeat the greatest threat he faces – himself and his towns’ pleasant residents becoming fish fodder.

The mayor of the town, Larry Vaughn, is perhaps the greatest intentional threat to Amity’s population. A shark can’t help its nature, but Vaughn actively indulges the greed of a booming tourist industry, which comes only at the small cost of potentially dozens of his local residents. Smartly dressed and self-knowingly grinning throughout most of his scenes, Spielberg frames this stereotype of a figure constantly at the edge of great bodies of water – the open ocean, local ponds or graffitied signs advertising the area – but of course, never seen delving into them. A man who knows he has a shark problem on his hands would never be the first to brace the biting depths, no matter the encouragement he gives to those around him. 

Shark aficionado and resident out-of-towner Matt Hooper plays a perfect opposition to the weather-beaten, weary and wisened features of enduring local fishermen Quint, who promises to find the shark for three thousand, but catch him, and kill him, for ten. Though the pair may seem as far apart in character as man-eating shark’s mouth is from its tail, the development of the narrative allows for a determined kinship to grow between the two, as they unite alongside Chief Brody to bring the shark to damning justice.

‘Jaws’ isn’t great simply because of its characters. It’s endlessly quotable, intelligently and beautifully captured, and also features a Great White swallowing up helpless small-town locals. It’s rare that a blockbuster brings so many elements to life in such a vivid manner, and would set a benchmark for the calibre of filmmaking that would come to be delivered from Spielberg over the course of a number of decades. But if there’s one story of his that I find myself returning to over and over again, it’s a story of three troubled men, hoping to find some peace in the death of a wild animal.

by theactivespectator

Those Who Wish Me Dead – Review

Rating: 15 Cast: Angelina Jolie, Finn Little, Jon Bernthal, Nicholas Hoult, Aidan Gillen and Medina Senghore. Directed by Taylor Sheridan Written by Michael Koryta, Charles Leavitt and Taylor Sheridan. Length: 100mins

Those who wish me dead is a whirlwind action thriller that boasts big stars and a big storyline that starts fairly widespread and gets significantly more narrow as the film unfolds. Angelina Jolie plays Hannah Faber, a wild and determined smoke jumper battling PTSD after she was unable to save the lives of some teenagers. The story teases Hannah’s interesting but dramatic job,  the unusual relationship she has with her ex and forces her to face her recent trauma as she finds herself responsible for a frightened teenager who is being hunted by two no nonsense hitmen. 

The storyline was really interesting to me, it feels both familiar yet original. In the first twenty minutes we’re introduced to all elements of the film in their separate locations. Hannah, her team mates, her job and recent trauma. Ethan, local law enforcement and Hannah’s ex boyfriend who clearly likes to play by the rules and his pregnant wife Allison. Connor and his dad hanging out eating breakfast until they realise that Connors dads work has placed them in danger, and Patrick and Jack, hitmen who disguise themselves and blow up the house of a local politician…it seems like a lot and spreads the audiences attention. But it doesn’t take long for the pieces to come together and I actually think it’s really interesting. One thing that I found particularly refreshing with this movie, is that they didn’t feel the need to inform its audience of all of the characters backstories. They’re happy to pick the story up where it is and just roll with it without using detailed history to inform the current situation, with the exception of Hannah’s recent trauma.

This film boasts solid performances all around, giving the audience a great mix of ‘character type’. We have the rebel, the hero, the bad guys, the vulnerable kid…all there on a base level but built upon with very human emotion and reaction to the stories events. The unexpected but much appreciated surprise came at the point you might expect to find your typical ‘damsel in distress’ character taking control of her situation and defying expectation. Though all performances were strong, the stand out was with the young Finn Little, a teenager from Australia who summons brilliantly raw, authentic emotion. Without him, the film wouldn’t resonate in quite the same way.

In my opinion, Those Who Wish Me Dead is a decent watch. It’s entertaining and exciting but without the need to get deeply invested. It’s a shame that it moved quietly through it’s cinematic release, just as the country was released from lockdown but it’s definitely one to look out for when it releases to the smaller screen. It’s quite a random standalone film, it has set up loosely for the opportunity to make another but I have no real idea where that would go. Unfortunately feels like generally it will be forgotten or missed but I would watch it again given the opportunity. 

by theactivespectator

The Other Boleyn Girl – Review

Rating: 12a Cast: Natalie Portman, Scarlett Johansson, Eric Bana, Jim Sturgess, Mark Rylance and Kristin Scott Thomas Directed by Justin Chadwick  Written by Peter Morgan (screenplay) and Philippa Gregory (novel) Length: 115mins

In Justin Chadwick’s debut feature film, The Other Boleyn Girl, we jump back in time to a pivotal moment in English history and land in the midst of one of the most notorious monarchs, King Henry VIII. Straight off the bat it’s important to recognise that artistic licence is applied and that some of the Historical facts are debated, but it’s an opportunity to experience an interpretation of one of the Queen famous for her demise.

The plot follows the Boleyn siblings, primarily the two sisters Anne and Mary as they reach adulthood and have set sights set on potential husbands. Through a bit of family meddling and taking advantage of issues with the Kings marriage, the King meets both girls and while initially favouring Anne, becomes captivated with the ‘other Boleyn girl’, who is newly married. The Boleyn’s are summoned to court and thus begins the competition for the Kings attention. It’s not a particularly surprising storyline as Anne Boleyn’s fate is one of the memorable in Royal history, but it’s an interesting take to consider other members of the family. 

From start to finish this film is full of incredible talent. In playing the quarrelsome siblings, Portman and Johansson conjure admirable performances, working as best they can with the dialogue and situations they’re afforded. Portman creates a scheming and flirtatious Anne while keeping the hot headed reactions of a young, inexperienced woman while Johansson leans more to a sweet, innocent sister. Choices that are reactionary to the dialogue, no doubt, and clearly separate the sisters, however there is a slight risk of the characters feeling a bit shallow. It’s easy to criticise these more obvious choices, but there is also plenty to defend. The film is long, the story and it’s characters are very famous and so you could certainly argue that in exploring the focal characters in more depth could mess up the through line of the story and therefore extend the film and throw it off balance. I personally think they made the right decisions within characterisation and the cast were perfect for what they needed. 

Unfortunately, due to the sheer number of incredible actors, there isn’t time to truly analyse all of the performances, but the casting department did a phenomenal job and the outcome was brilliant. 

Aesthetically, the film looks great; the grand settings, beautiful costumes and intricate detail within hair and make up really help transport the audience into a different time and allows the story to be told without a second thought. 

This movie stirs me in an unusual way. It’s deeply sad to see a family torn apart and as we know the ending is all but happy. It’s an entertaining watch, and in reminding us of elements of History it’s helpful to see how society has progressed and possibly, how it hasn’t. I would recommend watching this film, but it’s not perfect and as with every Historical film it’s worth checking the facts. 

by theactivespectator

Letters to Juliet – Review

Rating: PG Cast: Amanda Seyfried, Gael Garcia Bernal, Vanessa Redgrave and Christopher Egan. Directed by Gary Winick Written by Jose Rivera and Tim Sullivan Length: 105mins

Letters To Juliet tells the story of Sophie, a wanna be writer who takes a romantic trip to Italy with her somewhat distracted finance. While he seems to be more interested in sourcing ingredients for his New York restaurant than spending time with her, Sophie finds herself captivated by the local tradition of lovelorn women writing letters to Shakespeare’s Juliet and joins the team of women of whose job it is to write back to these unhappy souls.

When Sophie (Seyfried) finds a letter that is 50 years old, written by a young British girl about a Tuscan boy she met and fell in love with, she writes to the girl and soon Claire (Redgrave) and her grandson Charlie (Egan) arrive in Verona with the hopes of finding her long lost love, Lorenzo. The story is simple and extremely predictable but is connected with some truly beautiful shots of the Italian countryside. The warmth of the friendship between Sophie and Claire is really lovely and makes for a very easy romantic watch. Where a realist might suggest that Sophie help Claire check out the possible Lorenzo by using her phone, Letters to Juliet sends the three of them to visit the candidates in person, leading to a series of false leads and at last, of course, to the real Lorenzo Bartolini. 

This has a very specific audience, the simplicity and predictability of the plot is clearly for a young romanticist. Hoping that the sweet warmth as everything comes together will distract from problems that would almost certainly exist in reality. I remember watching this as a young teenager and thinking it was one of the best films i’d ever seen, but having re-watched it, it seems it just was  a very satisfying entertainment where very little goes wrong. While ‘nice’, it doesn’t have the depth to be considered amongst the best in it’s genre. The characters are broad, comforting stereotypes that are played well – particularly by Amanda Seyfried and Vanessa Redgrave but it almost seems a waste to have talent such as theirs crawling through a particularly cheesy plot. 

Letters to Juliet is definitely lacking in substance, but the idea at the core is a story of love lost and reunited. While a bit of a soppy melodrama where the ending is predestined from the setup, it’s a pleasant way to spend a couple of hours, especially for a PG audience.

by theactivespectator

Darkest Hour – Review

Rating: 12A Cast: Gary Oldman, Lily James, Kristin Scott Thomas and Ronald Pickup. Directed by Joe Wright Written by Anthony McCarten Length: 125mins

In 2017 Joe Wright directed this undeniably captivating account of Winston Churchill’s ‘darkest hour’ in 1940 as Hitlers forces were gathering across the channel, poised to invade. While the subject matter naturally prepares it’s audience for a tension-building portrayal of such an important period of Great British history, it’s not only the plot that is worthy of it’s audiences attention. This is not so much a period war drama, rather a detailed political thriller presenting a leader up against not only one of the sheer enormity of Hitlers Nazi Germany, but political swipes within his own Government.

While obviously the key plot points are guided by historical fact, it’s important to recognise that there are moments of fiction written into the film. It’s an interesting opportunity to remind a contemporary audience that big issues did not simply vanish the moment Churchill took over as Prime Minister, and with such a famous outcome it seemed to be a difficult challenge for the filmmakers to really paint the picture wherein the characters didn’t know the outcome of the events of the story. 

Darkest Hour collected a fantastic array of nominations and wins throughout the 2018 awards season, with Gary Oldman’s performance as Churchill winning most of the prestigious ‘best actor’ awards. It’s clear that without Oldman this films success may not have been so prolific. He manages to demonstrate Churchill’s courage effortlessly while still presenting the ‘grumpy old man’ with glimpses of humour. While Oldman is the main draw of the film, his co-stars of Lily James and Kristen Scott-Thomas bring a really lovely balance to the other characters on screen throughout.

Joe Wright is a reliable filmmaker with a very impressive list of filmography. You can’t help but notice the large scale features on that list including Anna Karenina, Atonement and Pride & Prejudice, with Darkest Hour fitting in nicely with the aesthetic of some of his previous works. Darkest hour is  a crowd-pleasing historical epic that knows when to keep moving and when to dwell on a moment.

There seems to be a renewed appetite for wartime movies in recent times and this one is an important watch amongst the others. Darkest Hour manages to exhibit Churchill’s daring bravery while not fully absolving him nor idolising him, rather it humanises him. I would suggest that for the sake of history this film is a necessary watch, but even if you have no interest in history it is Gary Oldman giving a masterclass for over two hours and that alone is reason to watch Darkest Hour.

by theactivespectator

Sabrina (1954) – Review

Rating: U Cast: Audrey Hepburn, Humphrey Bogart, William Holden and John Williams Directed by Billy Wilder Written by Billy Wilder, Ernest Lehman and Samuel Taylor Length: 113mins

Sabrina is a somewhat archetypal romantic comedy. It tells the story of a young girl, the daughter of a chauffeur who has eyes for the youngest son of her fathers employer. While growing up on the extravagant grounds of the Larrabee family home, Sabrina (Hepburn) longs to gain the attention of  David Larrabee (Holden); the resident wild child and polar opposite of his older brother, Linus (Bogart), who’s focus is purely on maintaining and expanding the family business empire. Sabrina is sent to cookery school in Paris in the hopes that she’ll forget David, but returns an elegant young woman with the ability to turn heads and capture the attention she’s so longed for.

It is impossible to comment on this film without discussing the cast. Audrey Hepburn and Humphrey Bogart  are nothing short of phenomenal. Their characters are so wonderfully authentic, drifting through their story and switching between the more serious moments to the more comical  so smoothly. Holden’s portrayal of David matches up to his co-stars just as well, with the only slight blip being the staff at the Larrabee house were slightly heightened which distracts from the more naturalistic telling of the story.

One of the more understated wonders of this film is the script; based upon the play ‘Sabrina Fair’ written by Samuel Taylor in 1953 and adapted for screen by Billy Wilder, Samuel Taylor and Ernest Lehman. While eloquently telling the story there is a brilliant amount of dry humour – one liners woven into the script that I hadn’t noticed when watching the film a few years ago, it’s brilliantly funny without the actors making the humour loud or extravagant. A feat that, to me, shows how deeply Wilder trusted both his material and his actors to tell the story and allow the dialogue to land with its audiences. 

On the surface, I’m not sure it’s even possible to mix the likes of Billy Wilder, it’s cast and this script without creating a timeless classic. Everything about it is so watchable. I highly recommend ‘Sabrina’, especially if you would usually write off black and white films; this was the first film I ever saw that wasn’t in colour and it really changed my mind. I had a completely unfounded hesitancy to watch B+W films because I thought I would get bored – if anything, they have to do more to keep a modern audiences attention and in my experience, they do just that!

I would also just add that although this is certified ‘U’ – one of the early scenes is an attempted suicide and, although nothing shocking or graphic it’s worth bearing in mind if you are watching with younger children. 

by theactivespectator

The Holiday – Review

Rating: 12A Cast: Kate Winslet, Cameron Diaz, Jude Law, Jack Black and Rufus Sewell Directed by Nancy Meyers Written by Nancy Meyers  Length: 136mins

In 2006 Nancy Meyers, who previously directed What Women Want,  gave us ‘The Holiday’. Another light-hearted romantic comedy, telling the story of four people who are all dissatisfied with elements of their lives until some timely choices lead to a clash of lives which changes each of them for the better during the Christmas holidays. Amanda (Diaz), a movie-trailer maker from Los Angeles, breaks up with her cheating boyfriend (Ed Burns) and is obsessed with the fact that she can’t cry — and finds herself in need of a break. Over in London, Iris (Winslet) needs a break from old flame Jasper and his new engagement. So, after a very brief internet interaction, Amanda ends up in Iris’ picturesque cottage in Surrey, while the latter sets off for Amanda’s Beverly Hills mansion.

Though the plot isn’t particularly complex it is comfortable to watch. We see the issues for our two leading ladies laid out before us and can totally understand the need to escape and take some time for themselves. While the idea of a house and car swap being simple enough to organise in one evening ready to catch flights the following day is somewhat unbelievable, we as an audience are happily swept away with the romance and excitement of watching these women take control of their situation and find something fresh. What makes this film particularly interesting is that unlike most ‘Christmas’ movies, it encourages it’s viewer to take time for themselves, not just others. It highlights self care as a priority in a season that, quite rightly so, often focusses on kindness towards other people and reminds us that we need to look after ourselves as well as others.

What keeps this film moving is the multiple storylines. The main two, clearly between Amanda and Graham; the tug between a whirlwind romance and her high powered job and Iris trying to move past her feelings for Jasper. But throw in two children who have experienced loss at such a young age, a happy go lucky film composer who thinks he’s punching above his weight and a retired screenwriter and suddenly you have some layers that weave so wonderfully together. Whose arc the audience cares about more shifts depending on their own situation and experiences, it’s very clever really, it allows the film to remain relevant to it’s audiences over the years on one level, while continually giving that warm festive feel that brings it’s audiences back to re-watch year after year.

The Holiday is an appealing escapist rom-com that is actually about escaping one’s reality, a film where the core message is for women to learn to love themselves, with an added bonus of romantic happy endings for all. It’s a modern staple of the festive period, it’s familiar and easy to watch but with the opportunity to pull more from the underlying themes if you so chose. 

by theactivespectator

Notting Hill – Review

Rating: 12A Cast: Julia Roberts, Hugh Grant, Rhys Ifans, Tim McInnery, Gina McKee, Emma Chambers and Hugh Bonneville Directed by Roger Michell Written by Richard Curtis Length: 124mins

Notting Hill, starring a phenomenal cast head up by Julia Roberts and Hugh Grant, introduces us to William Thacker (Grant). He owns a relatively unsuccessful travel book shop in Notting Hill; divorced and living in his ex marital home with his wacky tenant he is seemingly content to just bumble through life. That is until Hollywood Actress Anna Scott walks into his bookshop and subsequently his life. What follows is a love story with ups and downs, laced with good humour and undeniable charm.

Notting Hill is somewhat of an archetypal love story, it’s a fairly basic formula but it satisfies the hopes and expectations of it’s audience. Richard Curtis’ script is full of meet cutes, moments, disappointment and hope whilst being skilfully dispersed with brilliantly witty humour. I found the array of characters a really interesting element in this film, it feels like Curtis has pulled out his favourite stereotypes, fleshed them out a bit and enjoyed creating a world that they could all wander in and out of. The different characters do work for the story and definitely help with the humour; in particular Rhys Ifans as Spike and Emma Chambers as Honey but it’s the inclusion of characters like Bernie (Bonneville), Bella (McKee) and Max (McInnery) that captured my attention. While considering the peripheral characters it’s easy to be distracted by the loud presence of Spike and the kookie quirks of Honey; but having contrasting characters that seem very normal with very normal lives and situations alerted me to something a little deeper that Curtis was bringing attention to.

The whole film is about us and them. The audience likely to relate to William; a normal guy. He works a ‘normal’ job, has to clear up after his ridiculous housemate and spends time with his friends. Our leading lady is this gorgeous, glamorous super star. We see this life that very few people actually understand the pressures of and it grabs our attention when the two are thrown together in this quirky little story. Honey’s birthday meal is an integral piece of the film, we see the majority of our characters volunteering what makes them the saddest act at the table all for the last brownie. As we jump around the table learning a bit more about each character, we see a group of people, sitting around a table as we all have, sharing vulnerable parts of their lives. Whether people notice it or not, Curtis pulls down the barrier between us and them. A lesson that we don’t know what is going on with other people and accepting that although the struggles are very different, that everyone faces them at some point. 

The soundtrack is something that stood out while watching this film for what must be the hundredth time. This time I became aware that the music gives a real running commentary of the emotion of our focal pair. The lyrics of each song explain everything that we’re watching and it is arguably a bit sloppy. It’s not necessarily a problem, but I can’t help but think that more subtle choice might allow the audience to experience the action for themselves rather than being steered to how they should be feeling with a blast of ‘Ain’t No Sunshine’.

In his role as William Thacker we see Hugh Grant as his perfected ‘awkward, witty, romantic lead’ and the truth is that he’s just brilliant at that role. It’s no wonder we’ve seen him take on so many similar roles in his career. Simply, he’s one of very few people that could do that part justice. Roberts is just sensational. She really seems to shine in her role as Anna, each scene seems to reveal layers of her work which ties together during that famous moment where she’s “just a girl, standing in front of a boy, asking him to love her”.

This movie is bright. It’s full of wit, intelligence and charm. It’s such an easy watch and if you haven’t seen it yet, I really recommend that you give it a go. It’s a classic feel good movie that oozes romance. Arguably one of the best movies ever made in the genre of romantic comedy, thanks to the incredible performances, flawless writing and wonderful direction.

by theactivespectator

Yesterday – Review

Rating: 12A
Cast: Himesh Patel, Lily James, Joel Fry, Kate McKinnon and Ed Sheeran
Directed by Danny Boyle
Written by Jack Barth and Richard Curtis
Length: 116mins

In Danny Boyle’s 2019 musical comedy Himesh Patel plays Jack, a very normal guy from Lowestoft with big dreams of making it as a singer-songwriter. On evenings and weekends he plays small gigs arranged by his biggest fan and make shift manager, Ellie (Lily James) who has believed in him since hearing his rendition of ‘Wonderwall’ when they were both still in school.But then one night, at the same moment that Jack loses consciousness due to a road accident, a gigantic electrical storm hits earth and, after a brief power cut, the unimaginable happened – The Beatles are erased from history. Jack realises that he is the only person with any memory of the band and that he is the only one who remembers the Beatles songs; thus begins the journey to see if he can pass them off as his own.

An ambitious storyline to say the least, but Curtis and Barth attacked their wonderfully kookie idea and managed to create something truly unique and uplifting. Himesh Patel steps confidently into his role as the classic Richard Curtis ‘lovably hopeless’ character, though some Brits might know Patel from his role in Eastenders, the fact that he was relatively unknown was one of the elements that attracted Danny Boyle to him during casting. Lily James is just as charming as ever, the likeable force that she brings into any of her projects just makes this film more well rounded. Her character is the most relatable, arguably the most ‘normal, in the story, surrounded by either heightened characters like Rocky or Jacks parents yet left on the sidelines for the big leap to stardom and keeping her feet firmly on the ground.

The way that they made this bizarre story work is through having the actors play it really straight, allowing the comedy to flow out of the train of ridiculous circumstances and not overly pushing the funny moments. Boyle really managed to create a world where Jack believes his plan will work, a situation where the audience empathises with the normality of the focal characters and find themselves rooting for their successes.

There was always going to be some slight concern when you hear that anyone other than The Beatles is performing their songs, but Patel brings a really nice balance of his own voice and interpretation of the stories being told through them with the familiarity of the famous music. The way the songs are woven into the story and paced throughout the film helps with the progression of the timeline. Danny Boyle has commented while being interviewed that Himesh Patel sang Yesterday in one of his auditions and was one of the few actors who managed to connect with the song on a level that made it not sound like karaoke.

A film made purely for entertainment and it so committed to it’s storyline is such a breath of fresh air. Don’t get me wrong I love a film with all sorts of underlying themes and questions but this film is just brilliantly likeable. It’s a real family film with a whole range of humour, jam packed with wonderful songs in amongst a fully unrealistic, yet entertaining story. There’s very little with which to find in fault Yesterday, it’s absolutely my go to feel good film.