Wild – LFF Review

Wild

NOTE: For this review to work please pretend that Walk the Line never happened as I didn’t see it and forgot it existed…

As an actor you can make lots of lucrative, fun but unfulfilling films in your youth but to extend your career it helps to make the shift towards more respectable fare. Last year Jean-Marc Vallée directed Matthew McConaughey in Dallas Buyers Club and took him from being the lead in mediocre romantic comedies to winning an Oscar in a single film. This year Vallée is back with Reese Witherspoon as the actor getting a career revamp, and probably an Oscar nomination, in Wild.

Based on the autobiographical novel by Cheryl Strayed, and adapted for the screen by the great Nick Hornby, Wild tells the story of Cheryl (Reese Witherspoon) as she walks the 1,100 mile Pacific Crest Trail from the Mexican to Canadian border. Having lost her husband following a sex and drugs downward spiral and a family crisis Cheryl decides what she needs is time to clear her head and find herself. Alongside danger, exhaustion, and pain walking this distance offers up plenty of solitude and time for reflection. As she walks Cheryl meets mostly friendly strangers and looks back on the mistakes she has made in her life so far. The further Cheryl walks the more she grows and the greater the understanding the audience gains of her character and why she felt the need to embark on this long journey.

Wild 2

Witherspoon is clearly looking to put a stake in the ground and mark out a new start for her career. Far away from her Legally Blonde days Wild allows her to give a complex grown up performance as a woman who is a three-dimensional human being and not a caricature. While not a subtle film there is room for Witherspoon to demonstrate scope and depth in her acting as she plays an incredibly complicated woman who has made some truly awful decisions. The role of Cheryl does not always put Witherspoon in a flattering light and requires a certain level of exposure both emotional and physical. If nothing else Wild shows a commitment to real acting rarely seen from this particular performer. The film rests on her shoulders and she bears the burden well.

Wild is a beautifully shot film with some great performances and a witty script. While not offering anything cinematically innovative it conjures up a great sense of adventure alongside a dramatic tale of loss and errors in judgement. I am an absolute sucker for any film even remotely resembling a road trip and Wild sufficed in making me wanting to strap on a bag and walk until my feet fall off. The film earns bonus points for expertly representing the almost orgasmic relief felt when taking off hiking boots after a lengthy journey.

A solid film with a tough story to tell, Wild showcases new facets to Witherspoon’s acting chops and announces her as an actor to keep your eye on even at this stage in her career.

Wild has a UK release date of 16th January 2015 and screens at the London Film Festival on the 16th of October 2014.

BFI LFF 2014

Obvious Child – Film Review

Obvious Child

Donna Stern (Jenny Slate) is twenty-something young woman whose life slowly unravels after a successful stand-up gig when her boyfriend unceremoniously breaks up with her in the toilet. With her romantic life in tatters Donna turns to booze for solace and after crashing and burning on stage finds herself in bed with the overly sweet Max (Jake Lacy). One evening of poor contraceptive application later and woman-child Donna is with child. Accepting that she is in no position to have a baby Donna decides to have an abortion but one question remains; should she tell Max?

Obvious Child is a lot of things. It is hilarious. It is sweet. It is important. It is filthy. It is real. It is strident. It is subtle. It is probably the best comedy you will see this year. What Obvious Child is not is an “abortion comedy”. Abortion is not treated in a trivial way and is certainly not the most important element of the film but with abortion being such a heavily debated topic it is the aspect that has been discussed the most. Let’s get that out of the way for now. Obvious Child doesn’t glorify or condemn abortion but simply seeks to show it as a valid choice, something Knocked Up didn’t even consider. From the reaction of female audience members, that of gratitude and tears, this simple treatment of a serious issue is an important step forwards.

As I said before Obvious Child is not actually about the abortion but is about Donna’s relationships with her parents, her friends, her Max, and mostly her relationship with herself. This is the story of a woman finding the strength inside to take control of her life and not just coast through situations. This is a story about friendship, love, and actually listening to the advice your parents try to offer you. Donna is surrounded by a wonderful support network and her falling highlights how happy they are there to catch her. It is also important to note that Donna ultimately saves herself and while romance is a potential outcome it is not the love of a good man that serves as her goal.

Obvious Child - Jenny Slate & Jake Lacy

This might make it all seem a little too serious or worthy but let me tell you that from its opening scene, one of Donna performing stand-up, Obvious Child is ridiculously funny. I have a habit of hooting when a joke makes me lose my self-control and reveal my true laugh and I let out a few too many hoots while watching Jenny Slate give her career-defining performance. Though many modern romantic comedies are filled with unrelatable characters and situations Obvious Child is steeped in reality and all the muck and laughter that comes with it. For the time you spend watching the film Donna is your best friend; she makes you laugh, she makes you cry, and you desperately want her to get her shit together. She’s not perfect but she is far too much fun to be around for this to matter.

As for the romantic side of things let’s just say that Jake Lacy’s Max will be on everyone’s Christmas lists this year. Max manages to be the ideal man and remain human by simply being nice and fun to be around. The idea of a film featuring an abortion may not sound like a romantic classic but rest assured that Obvious Child wouldn’t be the worst choice for a date movie. Unless you’re Todd Palin of course.

If nothing else Obvious Child is a showcase for previously uncelebrated talent from the dramatic and comedic prowess of Slate to the writing and direction of Gillian Robespierre. Robespierre has an eye for unobstructive direction and writes dialogue, with co-writers Karen Maine and Elisabeth Holm, that feels real enough to be non-fiction.

I cannot stress enough how much I enjoyed Obvious Child. It is the rarest of cinematic creatures; a romantic comedy that has something to say and says it in a way that will make you laugh unattractively.

A must-see Obvious Child is in UK cinemas from tomorrow.