Hidden Figures brilliantly brings to light the essential role played by three African-American women during the Space Race at NASA. A story previously unknown to the public, all three helped change the boundaries of both gender and race during their time at this institution. Director Theodore Melfi brings across as a heartfelt feel to this picture and wonderfully lets the story tell itself rather than going for an overblown approach. The work these three women did was nothing short of miraculous and John Glenn's now famous flight might have been a far different story if not for their actions.
Katherine Goble (Taraji P. Henson), Mary Jackson (Janelle Monae) and Dorothy Vaughn (Octavia Spencer) are all employees of NASA. All feeling frustrated by the lack of advancement for both women and African-American's, each will take liberties into their own hands to get their voices heard. Space Director Al Harrison (Kevin Costner) is concerned with the upcoming space flight by John Glenn (Glen Powell). With the world watching, all of these three women will combine to launch one of the most anticipated moments in history.
The strength of Hidden Figures come from the toughness of each of the three leads. All are brilliant and brave in their own ways, Katherine is a mathematical genius whose gift is frowned upon by her all male superiors including insecure Paul Stafford (Jim Parsons). Dorothy is the defacto leader of a team of 'Computers' who is repeatedly denied promotion despite being overqualified. Sharp-tongued Mary while encouraged to be an engineer is denied due to silly technicalities. Melfi presents each of these characters with great authenticity and doesn't succumb to the urge to phone in the message. Set against the era of segregation, their battle isn't just in the workplace, it's all around. Thankfully the people around them are not presented as outright racists. Characters such as Kirsten Dunst's snooty Vivian Mitchell are ones bound by tradition and protocol.
Against the clock with the space race, the US is losing ground to the Soviets once Yuri Gagarin goes into orbit. Al Harrison is a boss that at first is concerned only with the job, once he gets wind of Katherine's ability with numbers it makes things a whole new ball game. All on her own at first, she receives a cool and hostile welcome. The only coloured bathroom she can use is half a mile away at her old building. She looks destined for obscurity until both John Glenn and Harrison see that the importance of this mission hinges on her. His defence of her isn't one where the sparks fly and no passionate speeches are given, just a quiet assurance that her qualifications are essential. Mary is also fighting her own battle because her wanted promotion depends on her taking advancement courses at an all white school. Mary is someone who doesn't need people fighting in her corner, through using her own words and her natural instinct is able to overcome anything.
Hidden Figuresis a tribute towards those who refused to be confined to the shadows. Battling prejudice throughout, each member shows their spirit and determination when times get hard. Dorothy in particular comes across as a real hero when she learns to program IBM machines better than the men who built them. It is impossible to think of John Glenn's flight without their involvement. Katherine's maths is by the far the element that makes the difference because although Stafford arrogantly states his math is perfect and tries to black out key 'classified' information, Katherine repeatedly sees the flaws. The men in their lives are also quietly brilliant with a wonderfully romantic turn by Mahershala Ali as new lover Jim Johnson. Playing both father figure to her three daughters, Jim is the rock she needs and this story is one that gives this picture a sweet feel.
Three magnificent turns are what makes this picture so potent. Taraji P.Henson is Oscar worthy as the brainiac Katherine. Giving her a silent determination, Henson gives a turn that has both heart and great charm. By far the strongest character of the bunch, this could open new doors for this actress. After impressing as a surrogate mother in Moonlight, Janelle Monae is a force of nature as Mary Jackson. Gifted with a quick wit and even quicker tongue, this woman is unafraid to go it alone when it comes to her dreams. Octavia Spencer could well be up for supporting honours again with another tough and frank turn as Dorothy. Authoritative whenever she is on screen, this kind of role is second nature to Spencer. Kevin Costner is also impressive as boss Al Harrison and shows how memorable he can be with the right type of part.
Hidden Figures is a picture that stands out on its story alone and is one that could see some love when it comes to awards season.
Venturing into Star Wars spin-off territory seemed like a dangerous thing at first but Rogue One shows us what wonderful nostalgia these tales can bring. Director Gareth Edwards directs this piece with a lot of love and affection and his control of the final act will warm Star Wars fans hearts. Losing none of its magic or its ability to give us characters we deeply care for, having stand-alone pictures could be a glorious thing. Set right before the events A New Hope, the questions fans were dying to find out are superbly brought forward and Edwards brilliantly joins the dots.
Jyn Erso (Felicity Jones) is the wayward daughter of Imperial scientist Galen Erso (Mads Mikkelsen). After learning of an upcoming weapons test, the Rebellion soon learns that their new space station The Death Star is capable of destroying entire planets. Anxious to find the key to destroying this station, Jyn is forced into the path of Rebel Captain Cassian Andor (Diego Luna), Imperial defector Bhodi Rook (Riz Ahmed) and their sharp-tongued robot K2S0 (Alan Tudyk).
Perhaps the strongest element to Rogue One is its premise, early on Jyn sees her mother murdered and father reclaimed by villainous Director Orson Krennic (Ben Mendelsohn). She is not for the rebellion and is just a criminal floating through life. When she is coerced by Mal Mothma (Genevieve O'Reilly) to join the Rebellion she begins to see the bigger picture. Originally tasked with convincing Rebel extremist Saw Guerrera (Forest Whitaker) to aid their risky venture- Jyn is trust into the path of Cassian. During this sequence, we see a whole new side to the Rebels. Guerrera is a man who believes in making Imperial cooperators suffer and his approach makes him a feared man. There are no lightsabers drawn (well thats not exactly true but I will avoid spoilers) and most of the battles take place on the ground. Particularly when blind warrior Chirrut Imwe (Donnie Yen) gets involved in a thrilling shoot-out on the planet Jedha. Edwards isn't concerned with stretching the story out and his no-nonsense approach works wonders for Chris Weitz and Tony Gilroy's well-paced script.
The new central cast is remarkably likeable, but have their limelight stolen by the hilarious K2SO. Coming off as C-3PO's sardonic relative, his calm and assured tone and clever wit is endlessly hilarious. A reprogrammed Imperial droid, KS20's is blunt and observant with a love of stats, but surprisingly deep in some places. Cassian and Jyn but heads almost immediately as their missions differ on many levels. Jyn merely wants to rescue her beloved father, while the Rebels perceive him as a big threat to their safety. Both have paid the price to get to this point, but neither can succeed without the other. Bhodi is a likeable character, but his risky move to defect from the Empire is not fully explained. Lurking in the shadows, Krennic comes across as a smug overachiever that is desperate to be recognised. The Empire merely views him as a nuisance, but unfortunately, his creation of the Death Star has been key to crushing rebel scum. Gareth Edwards makes the reappearance of Darth Vader a chilling and memorable one. Only on-screen for a matter of minutes, hearing James Earl Jones' iconic voice will send shivers down your spine.
Rogue One's mightiest achievement comes during its beautiful and exhilarating third act which is a love letter to all Star Wars fans everywhere. Stunningly recreating an X-Wing/Tie Fighter dog fighter during the film's climax and the reintroduction of several forgotten characters will have us all punching the air in joy. The effects are a visual treat for the eyes and we are transported back to that happy and joyful feeling we once had watching AT-AT's reigning havoc upon Hoth. All the answers we ever wanted are there and they feel utterly conceivable. While the story might dip in places and the decision to digitally recreate some treasured old characters might not appear particularly wise, we never feel short changed in this saga. Many narrow-minded fans whined about having a female hero, but Jyn feels worthy of anchoring it. Cool under pressure and willing to go the extra mile, she gives Rey a run for her money. truth this one is a team effort and how they combine to repeatedly stump Empire attacks is smartly put together.
As Jyn Felicity Jones shows her blockbuster potential. Before you would never have considered for this type of part, but through a gutsy turn Jones fits well into this universe. Diego Luna is equally impressive as the conflicted Cassian, but this is very much Alan Tudyk's picture. Sporting a brutally honest sense of humour, KS20 provides much more than the comic relief. After his excellent voice work as Sonny in I-Robot, Tudyk should just voice every robot in cinema from now on. Ben Mendelsohn makes for a good villain to play off against and Krennic is like watching a spoiled child in charge of the most powerful weapon in the Galaxy.
Rogue One has produced the best outcome we could wish for in this new era of Star Wars prequels. We now have hope for the upcoming Han Solo picture because if all spin-offs are like this one, we can breathe easy. Start counting the minutes to December 15, 2017 everyone! Episode VIII is coming.
2016 was a sad year in terms of deaths as we said goodbye to legends such as David Bowie, Alan Rickman and Prince. It was also a devastating summer for DC as both Batman vs Superman: Dawn of Justice and Suicide Squad tanked with critics. However, we have emerged with one of the most competitive Oscar races in recent years and once more had it proven that The Avengers rule the roost of summer movies. Here are my highlights of another great film year.
Top 10
1. La La Land (USA.Dir: Damien Chazzelle)
Few pieces of cinema were as hypnotic as Damien Chazzelle's musical. Demonstrating the addictive highs and brutal lows of a relationship, our hearts went through the grinder. A modern musical classic, each song and dance number will leave you wishing life had more spontaneous moments. Emma Stone and Ryan Gosling made for an impossibly cute couple and together they made 2016's best on-screen pairing. Be prepared to go through the entire emotional spectrum and allow yourself to be entranced. Damien Chazzelle has proven himself in the musical category- what lies next? Comedy?
2. Manchester By The Sea (USA/Dir: Kenneth Lonergan)
Giving the picture only the runner-up spot was a tough one indeed.The sheer power of Kenneth Lonergan's film cannot be denied. Casey Affleck gives the performance of a lifetime which is a masterclass in suppression and grief. Forced into being a reluctant father figure, his character cannot be free of his past but cannot embrace the future. Lonergan's potent depiction of the how our ghosts can never truly leave us left audiences in bits. It also showed us the very meaning of family and how despite our differences, we are always linked together. 3. Arrival (USA/Dir: Denis Villeneuve)
After claiming my top spot last year, Canadian Denis Villeneuve is once more in contention. Delivering this year's smartest and most engaging thriller, this might be the closest example of the possibility of alien contact. A top draw performance from Amy Adams was the beating heart of Villeneuve's picture. Forging a bond with her alien subjects, Adam's Louise Banks felt like the one woman who was destined for this honour. Continually nerve-jangling as the ambiguity of this mysterious earth visit plays out. This picture has us wondering how alone we are in the big universe? Best start reading up on alien signs, it might come in handy if they should pay a visit for real!
4. Moonlight (USA/ Dir: Barry Jenkins)
The best-reviewed movie of the year, Barry Jenkins' movie was something very special indeed. His story a young boy navigating the tough roads of being a homosexual in a rough Florida slum was engrossing. The Brutality of youth and the harsh realities of growing up were painful brought forward as young Chiron gets the hard knocks education. Mahershala Ali was the father figure all potential gangster dream of and Naomi Harris was the unbalanced mother all boys fear. Jenkins picture was a beautifully realised one and few pictures made better use of the carefully crafted camera work like this one. An unlikely but worthy story subject, Jenkins has finally arrived on the Hollywood scene.
5. Nocturnal Animals (USA/Dir: Tom Ford)
From fashion designer to Hollywood director, Tom Ford has had quite a ride. Nocturnal Animals was a blood pumping thriller from its bizarre opening of a fat, naked woman dancing with sparklers. Endless tense and sporting superb multiple interpretations, Ford's picture was one that played on your mind for days afterwards. Is the horrifying story of Texas revenge portrayed in Jake Gyllenhaal's book a reality? Or this is a sly dig towards his marriage to ex-wife Amy Adams? Frequently the lines between reality and fiction become crossed as Ford's two movies in one intertwine.
6. The Revenant (USA/Dir: Alejandro Gonzalez Inarritu)
Finally, this was the role that won Leo DiCaprio as deserved Oscar and this was quite possibly the most stunning visuals of 2016. Alejandro Gonzalez Inarritu's inspiring story of survival secured him back to back Oscars. Watching Leo's Hugh Glass being viciously mauled by a bear was hands down the most uncomfortable viewing experience this year had to offer. Literally, this explorer goes to hell and back multiple times and still keeps on crawling. Cinematographer Emmanuel Lubezki was the real star of this picture and his gorgeous photography makes even the worst hardship seems wonderful. You will not see a more committed performance than this one- worth the wait Leo!
7. Hell or High Water (USA: Dir David Mackenzie)
This tale of Texas revenge was a brilliantly smart one. Appearing as your standard bank heist thriller, the true genius of British director David MacKenzie's film won't be immediately apparent. Linking up with Sicario writer Taylor Sheridan, the result was a wonder story of brotherly love and bank robbing. Chris Pine and Ben Foster might have been the stories conscience, but Jeff Bridges calm and assertive Texas Ranger was what stole the show. Equally heartwarming and thriller, this picture also had a lot of laughs for good measure. Do not read up on this film before viewing because the revenge tactic is a beautiful one that raises a middle finger to the real crooks. 8. Jackie (USA/ Dir: Pablo Larrain)
Few first ladies were more iconic than Jackie Kennedy and Natalie Portman's performance as the former Mrs Kennedy was a mighty one. Pablo Larrain drags his audience into a wife's worst nightmare and Portman shines brightly bringing her trauma and distress forward. Afraid of JFK's legacy being cast aside while the grieves, Larrain makes full use of Jackie's determination to see his final send off being memorable. Rarely do biopics like this feel like genuine reconstructions and you will like an unwanted guest watching her cling to her husband's lifeless body during that fateful day in Dallas.
9. The Hateful Eight (USA/ Dir: Quentin Tarantino)
Movies like this one remind us of what a great writer QT can really be. His tale of eight mysterious strangers cooped up during a heavy snow story was one that always kept us guessing. In its 70MM glory, watching the blood splatter was a thrilling experience and it lets way to a magnificently claustrophobic feel. After the script was previously leaked, it seemed like this project had hit a dead end. Never one to take things lying down, Tarantino thankfully resurrected this from the dead and this tale of continuous side switching might have been lengthy- but it never once got old. Try listening to Samuel L Jackson's 'Black Dingus' story without squirming!
10. Gleason (USA/Dir: J.Clay Twill)
Rarely does a documentary picture get under your skin quite this like one. The tale of former NFL player Steve Gleason being diagnosed with ALS will ensure there are no dry eyes in the house. A humorous and forever spiritly subject, Gleason refuses to let his declining body beat him down. Facing the prospect of not seeing his newly born son Rivers grow up, Gleason is determined to make the most of his time on earth and together with his incredible wife Michel, this duo puts up a good fight. All throughout Steve battles with his fears, but always seem to find a joke in-between. His tear-jerking interview with Pearl Jam's Eddie Vedder is one of the impassioned moments this picture has to offer.
Best of the Rest 11. The Birth of a Nation (USA/Dir: Nate Parker)
Overshadowed by the controversy of director Nate Parker's past, the tale of former preacher turned slave rebel Nat Turner was a jarring one. Showing the violent and often poor living standards African-Americans were forced into, this picture was a racially charged timebomb. 12. Christine (USA/ Dir: Antonio Campos)
The suicide of Christine Chubbuck shocked TV audiences back in 1973, Antonio Campos brought us one of this year's most tragic bio pictures. Rebecca Hall was finally given a role to sink her teeth into and as the fated Chubbuck she showed us a fame desperate woman struggling to connect with people. 13.The Innocents (FRA: Dir Anne Fontaine)
Shocking yet beautifully stark and uplifting, Anne Fontaine's tale of a Belgian nurse tended to a convent of raped Polish nuns hit home hard. A viciously honest performance from veteran Polish actress Agata Kulesza was what gave the picture its bite. Especially when she what homes she really gives the newly born babies.
14. The Nice Guys (USA/Dir: Shane Black)
Not many directors in Hollywood can give the hard and funny approach like Shane Black. This story of two vastly different private eyes thrust into each other paths was a belly full of laughs. Russell Crowe and Ryan Gosling together made for a wonderful awkward pairing- please give these guys a sequel!
15. The Witch (UK: Dir: Robert Eggers)
Possibly the scariest and most unorthodox tale of the year, Robert Eggers movie was a psychological masterstroke. Making full use of Ye Olde English and the Puritans setting, Eggers continually found ways to mess with our heads and refused us the closure we so desperately need. Always be wary of buying black goats in future! Male Star of the Year: Ryan Gosling
We couldn't get away from Ryan Gosling this year as he dominated our screens. Hopelessly goofy and clumsy in The Nice Guys (don't let this guy into a bathroom stall alone) and sporting his trademark charm and suaveness in La La Land- Gosling is the man to beat in Hollywood right now. Few actors have a presence like this man and can hold our attention no matter what the film. Gosling is a man who likes to find ways to keep surprising us- keep it going buddy.
Female Star of the Year: Amy Adams
November was very much Amy Adams month and she gave us a big one-two combo. Both roles showed what sets her apart from other performers in this game and Adams gave two very different performances. Smart and assured in Arrival and filled with regrets and doubt in Nocturnal Animals. Adams is a true chameleon in every sense of the word- hopefully, 2017 will finally see her rewarded at awards season.
Best Director: Tom Ford- Nocturnal Animals
After impressing us with A Single Man, many wondered if there would be a Tom Ford follow up. With Nocturnal Animal's he gave us one hell of a return and his fascination with the ugly side of life was impossible to look away from. Visually jarring and heart racing, Ford has emerged from the fashion world as a major talent behind the lens. You can only wonder what his next opening scene will feature? A one-armed man directing traffic on rollerskates?
Scene of the Year: Arrival- First Contact
Gripping from even before Louise Banks (Adam Adams) and Ian Donnelly enter the spaceship, going into the unknown made audiences eyes bulge. Making full use of Johann Johansson's blasting soundtrack, Denis Villeneuve is sending us deep into the heart of darkness. What lies beyond the white screen? And will they get out of this ordeal intact?
Stellar work from Natalie Portman brings American's most famous first lady to life.Jackie is a touching replication of a woman going through her darkest hour. Chilean director, Pablo Larrain expertly intercuts through three key periods in the life of Jackie Kennedy. What follows is a testament to the devotion of one woman to her husband even in death. Mrs Kennedy worked tirelessly following JFK's death to honour his memory and her fierce desire makes this one of the strongest films of 2016.
Jackie Kennedy (Natalie Portman) is recounting the days before and after her husband's assassination in 1963. Telling her story to life magazine journalist Theodore H White (Billy Crudup) she aims to give an insight into that terrible time. Barely coping in the wake of this tragedy and the nation on high alert, Jackie is determined to give her husband a proper burial. With both her brother in law Bobby (Peter Sarsgaard) and other key members fearful of more trouble, she faces a tough battle.
Pablo Larrain doesn't take the linear route with Jackie and he and writer Noah Oppenheim decide to focus on three very different moments. The story mainly centres around that notable day in Dallas and watching Jackie clutching her husband's lifeless body wearing her iconic pink Chanel suit is heart-rendering. Even more so is watching her wiping the blood off her face while utterly traumatised. We also get glimpses into happier times such as her famous TV tour of the White House. The aftermath of JFK's assassination puts the entire nation in an emotionally fragile state. Jackie is a woman consumed by grief and barely keeping above water and is growing increasingly resentful with people's desire to shut her away. Her interview with Theodore is a tough nut to crack because he has to contend with a woman on her guard. While tearfully describing her words she spoke whilst John was bleeding to death, she shakily looks to him stating "Don't think for one second I'm going to let you publish that,"
Larrain also brings to light Jackie's confusion over her identity now she is no longer the first lady. The scenes alongside John Hurt's priest, Father Richard McSorley tap into the psyche of what her legacy really means? The dramatic weight of some scenes is sometimes carried without a word. During one scene she aimless wanders the White House taking pills and vodka while 'Camelot' plays overhead. All of her doubts, wonders and questions of how her husband will be remembered are beautiful expressed. The way the camera stays close to Natalie Portman draws us closer into the conscience of this famous figure. This effect feels fullest while we watch the bullet hit her husband's skull and in an instant her world is ripped apart. The audience feels like an intruder in a person's most private moment. Her relationship with Bobby also adds some family tension as he is sometimes overprotective nature makes her feel trapped.While his intentions mean well, he comes across being almost a sensor when he tries to keep Lee Harvey Oswald's death a secret.
The real firepower in Jackie comes from her desire to give her husband the send off she wants. Scared that the man she loves has already been consigned to history, Jackie refuses to let his memory be tarnished. Refusing to let her be alone for a moment, we are breathlessly drawn into her world and we see a soul that cannot rest. All throughout Jackie has to contend with the danger of being out in the open, with the nation still reeling staff are scared of another attack. Through her softly spoken tones, the former first lady makes the biggest waves. She will see this day through, the consequences be damned. Larrain's real mastery comes from how he portrays the suppression of her suffering during this crisis. Forced to keep up appearances, Jackie is very much the figurehead of JFK's legacy and on her strength of character alone this film carried forward. Few first ladies are as fondly remembered as Jackie Kennedy and this movie surpasses the boundaries of the average biopic film. Rarely do we get such a real glimpse into such an event, Larrain ensures out hearts go with Mrs Kennedy.
It feels like no-one else but Natalie Portman could have succeeded as Jackie. Portman perfectly personifies the horrific tragedy this woman suffered. Nailing Kennedy's iconic tones, this performance is one that is not only complex to pull off but requires a sufficient emotional investment. On all front, Portman is a revelation and is most mesmerising in her quieter moments. Such simple things as watching her husband blood drip off her in the shower increase the power of this turn. This role is one that will see her feature regularly this award season. After a few wayward of years of bad comedies, Portman is now firmly back on dramatic territory and this role feels like one she was born to play.
Jackie is a biopic picture that is unmatched this year and Pablo Larrain's Hollywood debut is one to truly savour.
The return to the Harry Potter universe is an enjoyable one by director David Yates. While Fantastic Beasts and Where to Find Them is an adventure that is great to look at, it doesn't quite conjure up the same sense of wonder. Yates draws into a world of unlimited imagination where effects seem to come second to knowing our characters. Eddie Redmayne makes for a capable lead, but JK Rowlings first attempt at a script is slightly incomplete.
Former Hogwarts pupil Newt Scamander (Eddie Redmayne) arrives in New York to promote his work on magical creatures. However, magic is under fire in New York after several recent events. Accidentally crossing paths with wannabe muggle baker Jacob (Dan Fogler) will bring him into the path of ex-Auror Porpentina Goldstein (Katherine Waterston). All the while, a war against magic is being waged by activist Mary Lou Barebone (Samantha Morton).
The creation of the new beasts and a brave step in a new pre-Potter world are what gives Fantastic Beasts and Where to Find Them its success. The new creatures are visually dazzling, top marks go to thieving platypus the Niffler, whose antics are a new ending sources of laughs. From the moment Newt Scamander arrives in New York, trouble seems to find him, During one encounter at the bank, he accidentally swaps suitcases with Jacob. Arrested by Porpentina, she drags Newt back to MACUSA (the US Magic Ministry) as perceives him to be a magical threat. The moment Jacob opens his wrong suitcase, all hell breaks lose and the bulk of the picture is spent chasing down these various beats around the Big Apple. Tina's boss Seraphina Picquery (Carmen Ejogo) is concerned with the effect this will have after the recent attacks by renowned wizard Grimmewald. Sinister MACUSA agent Graves (Colin Farrell) seems to have his own sinister agenda.
Chasing the beasts across a variety of awkward big city locations is definitely a great comic touch. One scene sees them chasing a horny female rhino creature across a frozen New York zoo. The main trouble comes from Newt being a rather weakly written character. A socially awkward and clumsy wizard, this person doesn't really have the needed spark the story requires. Jacob as a 'Non-Maj' dragged into the wizarding world is one we identify with more closely. A good funny relief, he is the audience's vision and like us, he is trying to make sense of it. His love story with Tina's alluring sister Queenie (Alison Sudol) is pleasant but doesn't feel necessary in this type of film. Together Newt and Tina make a good team, but their potential attraction feels drastically underwritten. Graves is a character who has a good sense of mystery about him as he investigates a series of random attacks by an invisible force. The supporting roles seem richer despite less time, particularly Morton's villainous Barebone. Her badly abused son Credence (Ezra Miller) is a wonderfully dark character that lurks in the shadows.
The third does make Fantastic Beasts and Where to Find Them to life. The invisible force has caused havoc throughout, even resulting in the death of an important son of newspaper mogul Henry Shaw Sr (Jon Voight). Finally, during this stretch, Newt gets the chance to play hero onscreen. The numerous creature chase sequences eventually draw out the pictures running time unnecessarily. When he focus on the principle threat plague threatening the city, he emerges as a clever and bold hero who could grow with the right material. Aided by his glorious big bird Frank, Newt shows real brains when the game is on the line, showing that creatures, not humans are his real forte. Unfortunately for all the last act's twists and turns, it contains a big reveal that's far too easy to predict. Although it does boast one of 2016's most unexpected A-lister cameos. JK Rowling's script might not all it wants to be, but it sure is great fun. Yates is able to keep the magic alive where needed and he is definitely the go-to man for this series.
Eddie Redmayne does the best with the material he is given as Newt Scamander. While watching him do an awkward mating dance for a hippo creature makes us cringe, Redmayne is able to bring across the more socially isolated part. Presented your typical bumbling Englishman abroad, Redmayne is able to bring across a depth such as his pining for an acquaintance who once wronged him. More impressively he is given a bravery when the game is on the line and that finally makes us root for him. Katherine Waterston is a talented actress is a rather beige role as Tina Goldstein and while her heart is commendable, she is never given anything to draw us in. Dan Fogler is by the given the strongest supporting role and as muggle Jacob, he is a revelation. Embodying the audiences conscience and desire to see this world, Fogler looks like a kid in a candy store.
Fantastic Beasts and Where to Find Them offers wonderful visual excitement and is another very entertaining piece. Unfortunately, it just doesn't feel different from anything else we've seen in this universe.
