Plot: Harley Quinn (Margot Robbie) was just broken up with and she’s not dealing all too well with the Joker’s rejection. As she parties her way through the heartache, she keeps the break-up under wraps, at least for a while. When she finally is able to admit to the break-up herself, she decides that a public statement is in order. What she didn’t consider, though, is that it would mean that half of Gotham city believes her to be an easy target now. Very quickly, Harley finds herself in the crosshairs of pretty much everybody, above all Roman Sionis (Ewan McGregor). To save her own skin, Harley gets involved with the search for a diamond for Sionis and things get even more complicated from there.
Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is an absolutely fantastic film. It’s funny, has great characters, awesome action and looks gorgeous. It immediately became one of my favorite superhero movies.
Plot: Young, promising artist Christian (Ewan McGregor) finds his way to Paris where he hopes to be part of the bohemian revolution. He is quickly adopted by a theater group who hope he can help persuade the Moulin Rouge to put on their play by convincing its most important star Satine (Nicole Kidman) of his talents. Satine is quickly convinced, but the Moulin needs the help of the Duke (Richard Roxburgh) to finance the play – and the Duke wants Satine. That Christian and Satine fall in love, then, is the most inconvenient thing.
Moulin Rouge! came out when I was a teenager and it hit me in just the right way in pretty much everything. I still listen to the soundtrack regularly, but it had been years that I have actually seen the film. Now that I have, what can I say but that it’s still one of my faves despite the many (many) problems I can see.
Plot: Cole (Ewan McGregor) is a programmer. He has successfully developed a compatability test that can very reliably determine whether two people will be happy together. A test that incidentally led to the end of his own marriage to Emma (Rashida Jones). Now Cole develops AI in the form of robots that he brings ever closer to indistinguishable from humans. His latest project is Ash (Theo James) who is remarkably adept at reading human emotions. Meanwhile it’s Zoe (Léa Seydoux) who runs the day-to-day end of his matchmaking business. Zoe has been quietly in love with Cole for a while now but she doesn’t know what to do with her feelings.
Zoe is soft, tender and a little sad. It doesn’t really have anything new to add to the AI/robot genre, but that doesn’t mean that following it as it treads familiar ground isn’t pleasant.
Plot: Christopher Robin (Ewan McGregor) is all grown up. He has a wife, Evelyn (Hayley Atwell), and a daughter, Madeline (Bronte Carmichael). But above all, he has a job that keeps him very, very busy. Right now, the company he works for needs to lay people off and Christopher has one weekend to figure out who to fire. So when his childhood friend and teddy bear Winnie-the-Pooh (Jim Cummings) suddenly appears and asks him to come back to the 100-acre-wood, it couldn’t come at a worse time. It’s time for Christopher to get his priorities straight.
Christopher Robin is a film on a mission and with a message, everything else takes a backseat to that. But in the end it gets tied up so much in its message that it manages to completely undermine it.
Swede (Ewan McGregror) and Dawn (Jenniger Connelly) have pretty much the perfect 50s life: he is successful, she is beautiful and they married out of love, of course. Their daughter Merry finally completed their life, despite her stutter. But now Merry (Dakota Fanning) is a teenager and she’s rebelling against everything. Swede and Dawn find out just how much she’s rebelling when they’re confronted with the suspicion that Merry was involved in a bombing that ended fatally. Merry herself disappears and Dawn and Swede are left desperately trying to piece together what happened to her.
Given that American Pastoral was based on a Roth novel, I didn’t set my hopes for the film too high, but in a moment of weakness prompted by McGregor’s prettiness, I decided to watch it anyway. I shouldn’t have bothered.
Belle (Emma Watson) lives in a small village with her father Maurice (Kevin Kline), an inventor. Her life wouldn’t be so bad if the local library had more books and if village beau Gaston (Luke Evans) wasn’t constantly harrassing her with marriage proposals. Then one day, Maurice doesn’t return from the market as planned. When Belle sets out to find him, what she finds is an enchanted castle, where a Beast (Dan Stevens) is holding her father captive. Fearless as she is, Belle takes Maurice place. And she might just be what the Beast needed to break the curse that weighs on them all.
This live-action version of the film isn’t strictly necessary and there were a couple of things that really didn’t go all that well, but the film was nevertheless enjoyable and managed to capture the magic of the animated version at least in part.
Twenty years after the events of Trainspotting, the now clean Mark Renton (Ewan McGregor) returns to Scotland for the first time. He wants to see his family and to catch up with Spud (Ewen Bremner) and Simon (Jonny Lee Miller), though he’d rather not see Begbie (Robert Carlyle). He suspects that Begbie is still very angry with him from when he left. Simon is angry, too, but once they get over the inital anger, they are back to making plans of how to make their lives more than it is. But the past can’t be left behind that easily.
T2 Trainspotting captured most of the mood of Trainspotting perfectly, although it does lack some of the inescapable energy of the first one. That being said, I’m very content with this sequel so many years later.
Renton (Ewan McGregor), Sick Boy (Jonny Lee Miller), Tommie (Kevin McKidd) and Spud (Ewen Bremner) are friends. At least as much as you can be friends with anybody you share a heroin addiction with. And don’t necessarily like each other all that much. As they tumble through Edinburgh, alternatively looking to buy the next hit and to kick the habit altogether, their paths cross with the same people over and over again, people like the violent Begbie (Robert Carlyle). They all struggle with their own problems but at least they are not stuck in the wheel of capitalism. Or that’s what Renton tells himself.
It’s been many years since I saw the film (although some images have burned themselves into my retina, they are that present in my head). Re-watching it now, I’m still very much taken with it. It’s a really great film, despite a couple of weaknesses.
Plot: Miles Davis (Don Cheadle) hasn’t released new music in a long time. In fact, he was barely seen in public. That’s why journalist Dave Braden (Ewan McGregor) is dead set on profiling him to find out what’s going on and to give his own career a boost. He manages to find his way into Davis’ home and gets quickly involved in Davis’ chaotic, drug-fueled life and his desperate search for the master tapes containing his new music that were stolen from him.
Miles Ahead takes a very liberal approach to Miles Davis’ life, landing somewhere between crime story and biopic and working as neither. I hated almost every second of it.
Perry (Ewan McGregor) and Gail (Naomie Harris) are on holidays together in an attempt to get their relationship back on the right track. But things are tense. That’s when they meet Dima (Stellan Skarsgård), a rich, jovial Russian. He invites them for drinks and Perry accepts. Dima takes a liking to him and invites him to a party. It is there that he reveals that he works for the Russian mob and that he needs Perry’s help to deliver data to the UK – data that would secure Dima and his family refuge from the repercussions of the mob. Perry agrees to help, but when he hands over the data to agent Hector (Damian Lewis), the role he and Gail both have to play in the affair is unexpectedly far from over.
Our Kind of Traitor was a decent thriller that ends in cliché country. But for a while there, it is a good ride.