JMCReelReviews
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Ben Affleck returns to Dennis Lehane's work with this adaptation of Live By Night, the second novel in a trilogy (starting with The Given Day and finishing with World Gone By). Live By Night is a gangster epic which follows the rise to power of Joe Coughlin, a young Boston criminal who ends up running an empire in Florida for the Italian mob. As with The Town and Argo, Affleck casts himself in the leading role and is joined by an impressive supporting cast including Sienna Miller, Zoe Saldana, Elle Fanning, Robert Glenister, Chris Cooper and Brendan Gleeson.
The film begins with Coughlin, as the narrator, introducing himself as a veteran who has returned disillusioned from WW1 to the extent that he refuses to follow rules or take orders from anybody. As such, he now considers himself an outlaw. We see him and his crew embark on daring robberies, including a poker game ran by one of Boston's major gangsters, Albert White (played with menacing vigour by Glenister) whose moll is having an affair with Coughlin. As repercussions ensue, Coughlin reluctantly takes on a job for White's mob rivals who send him to Ybor City, Florida, in order to take over their rum import enterprise during the prohibition era. Despite initial protestations that he is not a gangster, does not want to be wedded to the mob or have to take orders from anyone, he eventually concedes to his circumstances and his need for revenge against White, and so quickly sets about establishing his presence, authority and power across Southern Florida. In doing so, he finds love, friendship and enemies as he encounters the wrath of various strands of the Florida populous, ranging from the devoutly religious to the KKK, who take umbrage with his diverse business and personal relations. Naturally, events head toward a bloody and violent showdown.
As an addition to the gangster genre, Live By Night certainly has a uniqueness to it. Thanks to the Florida setting, there is a notable feel and style to the film. Whereas the typical gangster movie might be set in dark and claustrophobic city locations such as Chicago, New York, Detroit or Boston, the story here is told against sun-soaked, colourful and expansive scenery which provides a sense of heat so stifling that it can almost be felt coming through the screen. The film also boasts some sumptuous scenery, particularly of the Florida glades, whilst the early 20th Century town-life of Ybor City really comes to life thanks to excellent design, costumes and vibrant music. It was interesting, too, to see a gangster film based during the prohibition era which told its story from the perspective of the suppliers of the alcohol, rather than the city-based recipients. Additionally, the ethnic diversity of the characters form a foundation for the depiction of the racism that was so prevalent in the southern United States during this period, and this gives Live By Night a distinctiveness within the genre.
Unfortunately, whilst Affleck has proved himself to be a superb director, this is by far his weakest effort. Hastily cut and edited, the first act in particular chops and changes scenes with such frenetic pace and frequency one could be forgiven for feeling queasy with motion sickness. This may very well be a conscious decision by Affleck, as Coughlin's voice-over thankfully helps provide some degree of constructive narrative, but as a result any provision of context, plot or character development feels completely overlooked; an issue that lingers throughout the film. Too much feels glossed over and rushed, with relationships suddenly formed and underdeveloped, whilst character motivations and intentions are under-explored and largely ignored.
Lehane's novel does not suffer from the same issues and therefore the source material cannot be blamed here. Indeed, we are introduced to Coughlin in the first novel, The Given Day, and his character, relationships, background, grievances and drive are detailed thoroughly. With Affleck's film, he introduces us to Coughlin midway through the character's reality and doesn't bother to lay a foundation for him. As a result, Coughlin's relationship with his high-ranking police officer father is barely covered, whereas Lehane uses this as one of the core influences behind his intention to live a life of crime. In the film, Coughlin says how he mourns for a lost love, but this is not something we actually get to see. Again, Lehane uses this as a key impetus for his character. Affleck's Coughlin, a petty criminal, insists on not becoming a gangster, yet hits the ground running the second he arrives in Florida setting up the empire. There are various other examples which all highlight how the events within Affleck's film are mostly conceived out of pure convenience.
Compounding this sense of underdevelopment and hastiness is an infuriating lack of any indication of how much time is passing throughout the story. At one point towards the end of the film, Coughlin refers to a girl who died in 1927, and this just highlighted the fact that, aside from references to US Presidents and the end of prohibition, there is nothing to suggest when these events are taking place or indeed how long they are taking.
It's frustratingly poor storytelling, especially when considering the strength and quality of the source material. Combined with Affleck being so prominent in his leading role, his decision as the director to use so many facial close-ups and lingering shots of Coughlin means that Live By Night essentially feels like a self indulgence piece. Ironically, his brother Casey would arguably have made a better Coughlin and perhaps Affleck would benefit from staying behind the camera next time.
Ultimately, Live By Night is a missed opportunity. It looks fantastic, and there are some excellent action sequences including car chases and shoot-outs, but as a drama it is severely lacking in impact and finesse.
The film begins with Coughlin, as the narrator, introducing himself as a veteran who has returned disillusioned from WW1 to the extent that he refuses to follow rules or take orders from anybody. As such, he now considers himself an outlaw. We see him and his crew embark on daring robberies, including a poker game ran by one of Boston's major gangsters, Albert White (played with menacing vigour by Glenister) whose moll is having an affair with Coughlin. As repercussions ensue, Coughlin reluctantly takes on a job for White's mob rivals who send him to Ybor City, Florida, in order to take over their rum import enterprise during the prohibition era. Despite initial protestations that he is not a gangster, does not want to be wedded to the mob or have to take orders from anyone, he eventually concedes to his circumstances and his need for revenge against White, and so quickly sets about establishing his presence, authority and power across Southern Florida. In doing so, he finds love, friendship and enemies as he encounters the wrath of various strands of the Florida populous, ranging from the devoutly religious to the KKK, who take umbrage with his diverse business and personal relations. Naturally, events head toward a bloody and violent showdown.
As an addition to the gangster genre, Live By Night certainly has a uniqueness to it. Thanks to the Florida setting, there is a notable feel and style to the film. Whereas the typical gangster movie might be set in dark and claustrophobic city locations such as Chicago, New York, Detroit or Boston, the story here is told against sun-soaked, colourful and expansive scenery which provides a sense of heat so stifling that it can almost be felt coming through the screen. The film also boasts some sumptuous scenery, particularly of the Florida glades, whilst the early 20th Century town-life of Ybor City really comes to life thanks to excellent design, costumes and vibrant music. It was interesting, too, to see a gangster film based during the prohibition era which told its story from the perspective of the suppliers of the alcohol, rather than the city-based recipients. Additionally, the ethnic diversity of the characters form a foundation for the depiction of the racism that was so prevalent in the southern United States during this period, and this gives Live By Night a distinctiveness within the genre.
Unfortunately, whilst Affleck has proved himself to be a superb director, this is by far his weakest effort. Hastily cut and edited, the first act in particular chops and changes scenes with such frenetic pace and frequency one could be forgiven for feeling queasy with motion sickness. This may very well be a conscious decision by Affleck, as Coughlin's voice-over thankfully helps provide some degree of constructive narrative, but as a result any provision of context, plot or character development feels completely overlooked; an issue that lingers throughout the film. Too much feels glossed over and rushed, with relationships suddenly formed and underdeveloped, whilst character motivations and intentions are under-explored and largely ignored.
Lehane's novel does not suffer from the same issues and therefore the source material cannot be blamed here. Indeed, we are introduced to Coughlin in the first novel, The Given Day, and his character, relationships, background, grievances and drive are detailed thoroughly. With Affleck's film, he introduces us to Coughlin midway through the character's reality and doesn't bother to lay a foundation for him. As a result, Coughlin's relationship with his high-ranking police officer father is barely covered, whereas Lehane uses this as one of the core influences behind his intention to live a life of crime. In the film, Coughlin says how he mourns for a lost love, but this is not something we actually get to see. Again, Lehane uses this as a key impetus for his character. Affleck's Coughlin, a petty criminal, insists on not becoming a gangster, yet hits the ground running the second he arrives in Florida setting up the empire. There are various other examples which all highlight how the events within Affleck's film are mostly conceived out of pure convenience.
Compounding this sense of underdevelopment and hastiness is an infuriating lack of any indication of how much time is passing throughout the story. At one point towards the end of the film, Coughlin refers to a girl who died in 1927, and this just highlighted the fact that, aside from references to US Presidents and the end of prohibition, there is nothing to suggest when these events are taking place or indeed how long they are taking.
It's frustratingly poor storytelling, especially when considering the strength and quality of the source material. Combined with Affleck being so prominent in his leading role, his decision as the director to use so many facial close-ups and lingering shots of Coughlin means that Live By Night essentially feels like a self indulgence piece. Ironically, his brother Casey would arguably have made a better Coughlin and perhaps Affleck would benefit from staying behind the camera next time.
Ultimately, Live By Night is a missed opportunity. It looks fantastic, and there are some excellent action sequences including car chases and shoot-outs, but as a drama it is severely lacking in impact and finesse.
Casey Affleck recently won the Best Actor (Drama) award at the Golden Globes for what is arguably his best performance to date. He plays Lee Chandler, a socially awkward, lonely and tightly wound janitor in Boston who is forced to return to his home town following the untimely death of his older brother. As next-of-kin, Lee becomes the trustee of his brother's affairs and reluctantly, the legal guardian to his teenage nephew, Patrick (played by the excellent Lucas Hedges).
We follow Lee and Patrick as they form a strained bond together and deal with their grief in their own separate ways. Lee focuses on taking care of the various arrangements as quickly as possible so that he can return to Boston, whilst Patrick, the antitheses of Lee, surrounds himself with attention from his friends and girlfriends.
What makes this such a fascinating drama is not just the development of the relationship between these two, but the study of a tortured soul facing his demons and battling for redemption. It's a stunning performance from Affleck who shows great maturity and sensitivity in his portrayal of Lee. This is a character so full of self-loathing and bent on self-destruction, so consumed by shame and hurt, but is determined to do the right thing despite the turmoil this brings. He could almost be Shakespearean such is the tragedy that defines him. This is a character so compelling to watch, the audience could be on the verge of heartbreak in any given scene, and the audience's resolve is severely tested towards the end of the film during a conversation with his ex-wife (Michelle Williams, excellent as always but surprisingly lauded given her considerable lack of screen time). Seeing a younger Lee in a series of flashbacks also makes the present-day version that much more complex; the younger Lee appearing to be popular, sociable and fun, much like Patrick in fact.
Hedges deserves many plaudits himself for his performance. At just 20 years old, he already boasts an impressive CV which includes appearances in two Wes Anderson films, Moonrise Kingdom and The Grand Budapest Hotel, as well as Michael Cuesta's Kill the Messenger. As Patrick, he must contend with the loss of his father, the arrival and interference of his estranged uncle, and the potentially impending upheaval of his entire life. He is quickly thrown into conflict with his uncle, who wants to take him back to Boston. Patrick summarises his popularity to Lee; he has lots of friends, is on the hockey and basketball teams, has two girlfriends and is in a band. Lee is a janitor, "what's it matter where you live?" Patrick asks. The conflict between the two of them turns into a battle of wills, and thankfully this brings about a relieving injection of humour, particularly when Patrick feels compelled to run his love-life by Lee. Patrick has his own complexities, too, evident in a lack of visible emotion over his father's death but devastatingly abundant in his need to fix his father's boat and the panic attack he suffers at an innocuous reminder of what happened to his dad. These are reminders of Patrick's vulnerabilities and the fact that despite living an almost perfect life for a 16 year old teenager, he is still very much a dependant; a point subtly repeated every time he asks Lee for money or to drive him to one place or another.
The bond between Lee and Patrick naturally encapsulates a theme of paternity and this is something that is explored in greater detail throughout the film, particularly in the flashbacks in which we meet Lee's brother Joe (reliably performed by the ever brilliant Kyle Chandler). These flashbacks also introduce us to Lee's and Joe's ex-wives (Williams and Gretchen Mol), who personify the related theme of maternity, and the flashbacks hint at the close relationship the brothers shared, too. It becomes clear that this is not just a story about parenting, but one about family and the hardships that familial relationships can bring about, especially when dealing with loss.
Understandably, Manchester-By-The-Sea has a bleakness to it, embodied by Affleck's outstanding performance but also represented by the titular location, serving as a character within itself and in doing so as the source of conflict and turmoil that Lee must battle with. Situated in Essex County in the northeast of Massachusetts, it is a small coastal town which is portrayed by Director Kenneth Lonergan as an intimate and close-knit community in which everyone knows each other, rumours and stories are prevalent, and it is bitterly cold. Coldness becomes a pivotal element of the film; it is a cause of anguish that highlights Patrick's grief but also provides a metaphor for the repressed emotions of the protagonists, especially the hardened and guarded Lee.
Lonergan, as Director and Writer of Manchester-By-The-Sea, deserves all the nominations and awards he has and is yet to receive. With a clear eye and astute observation for complex characteristics and emotional catalysts, he combines a myriad of familial complications and pitfalls into a wonderfully sensitive story that tells of love, loss, joy and pain. With a running time of over two and a quarter hours, some may feel that this story is too long, but given the complexities and development of the characters and their relationships, it felt perfectly pitched and elegantly told. Accompanied by an almost operatic score that enhances the drama and sense of tragedy, this is a truly accomplished, polished and beautifully crafted character-based drama. Astonishingly, this is just Lonergan's third film in 16 years. With such assured talent, it's a shame he is not more prolific.
Ultimately, Affleck will take all the plaudits and like Lonergan, he deserves every nomination and award he gets. Manchester-By-The-Sea certainly won't be to everybody's taste as it is a slow burning and bleak character study. However, in terms of pure accomplished drama and story-telling, it is sublime.
For further movie reviews, please visit: https://www.facebook.com/JMCReelReviews/
We follow Lee and Patrick as they form a strained bond together and deal with their grief in their own separate ways. Lee focuses on taking care of the various arrangements as quickly as possible so that he can return to Boston, whilst Patrick, the antitheses of Lee, surrounds himself with attention from his friends and girlfriends.
What makes this such a fascinating drama is not just the development of the relationship between these two, but the study of a tortured soul facing his demons and battling for redemption. It's a stunning performance from Affleck who shows great maturity and sensitivity in his portrayal of Lee. This is a character so full of self-loathing and bent on self-destruction, so consumed by shame and hurt, but is determined to do the right thing despite the turmoil this brings. He could almost be Shakespearean such is the tragedy that defines him. This is a character so compelling to watch, the audience could be on the verge of heartbreak in any given scene, and the audience's resolve is severely tested towards the end of the film during a conversation with his ex-wife (Michelle Williams, excellent as always but surprisingly lauded given her considerable lack of screen time). Seeing a younger Lee in a series of flashbacks also makes the present-day version that much more complex; the younger Lee appearing to be popular, sociable and fun, much like Patrick in fact.
Hedges deserves many plaudits himself for his performance. At just 20 years old, he already boasts an impressive CV which includes appearances in two Wes Anderson films, Moonrise Kingdom and The Grand Budapest Hotel, as well as Michael Cuesta's Kill the Messenger. As Patrick, he must contend with the loss of his father, the arrival and interference of his estranged uncle, and the potentially impending upheaval of his entire life. He is quickly thrown into conflict with his uncle, who wants to take him back to Boston. Patrick summarises his popularity to Lee; he has lots of friends, is on the hockey and basketball teams, has two girlfriends and is in a band. Lee is a janitor, "what's it matter where you live?" Patrick asks. The conflict between the two of them turns into a battle of wills, and thankfully this brings about a relieving injection of humour, particularly when Patrick feels compelled to run his love-life by Lee. Patrick has his own complexities, too, evident in a lack of visible emotion over his father's death but devastatingly abundant in his need to fix his father's boat and the panic attack he suffers at an innocuous reminder of what happened to his dad. These are reminders of Patrick's vulnerabilities and the fact that despite living an almost perfect life for a 16 year old teenager, he is still very much a dependant; a point subtly repeated every time he asks Lee for money or to drive him to one place or another.
The bond between Lee and Patrick naturally encapsulates a theme of paternity and this is something that is explored in greater detail throughout the film, particularly in the flashbacks in which we meet Lee's brother Joe (reliably performed by the ever brilliant Kyle Chandler). These flashbacks also introduce us to Lee's and Joe's ex-wives (Williams and Gretchen Mol), who personify the related theme of maternity, and the flashbacks hint at the close relationship the brothers shared, too. It becomes clear that this is not just a story about parenting, but one about family and the hardships that familial relationships can bring about, especially when dealing with loss.
Understandably, Manchester-By-The-Sea has a bleakness to it, embodied by Affleck's outstanding performance but also represented by the titular location, serving as a character within itself and in doing so as the source of conflict and turmoil that Lee must battle with. Situated in Essex County in the northeast of Massachusetts, it is a small coastal town which is portrayed by Director Kenneth Lonergan as an intimate and close-knit community in which everyone knows each other, rumours and stories are prevalent, and it is bitterly cold. Coldness becomes a pivotal element of the film; it is a cause of anguish that highlights Patrick's grief but also provides a metaphor for the repressed emotions of the protagonists, especially the hardened and guarded Lee.
Lonergan, as Director and Writer of Manchester-By-The-Sea, deserves all the nominations and awards he has and is yet to receive. With a clear eye and astute observation for complex characteristics and emotional catalysts, he combines a myriad of familial complications and pitfalls into a wonderfully sensitive story that tells of love, loss, joy and pain. With a running time of over two and a quarter hours, some may feel that this story is too long, but given the complexities and development of the characters and their relationships, it felt perfectly pitched and elegantly told. Accompanied by an almost operatic score that enhances the drama and sense of tragedy, this is a truly accomplished, polished and beautifully crafted character-based drama. Astonishingly, this is just Lonergan's third film in 16 years. With such assured talent, it's a shame he is not more prolific.
Ultimately, Affleck will take all the plaudits and like Lonergan, he deserves every nomination and award he gets. Manchester-By-The-Sea certainly won't be to everybody's taste as it is a slow burning and bleak character study. However, in terms of pure accomplished drama and story-telling, it is sublime.
For further movie reviews, please visit: https://www.facebook.com/JMCReelReviews/
A record breaking haul at this year's Golden Globes awards gives some indication as to just how special a film La La Land is. With 7 deserved awards including Best Musical or Comedy, Best Director, Best Score, and Best Actor gongs for both its lead stars, this has proved to be a powerhouse of cinema which will be remembered for some time.
Directed by Damien Chazelle following up on the excellent and critically acclaimed Whiplash, La La Land sees Ryan Gosling and Emma Stone deliver performances reminiscent of Fred Astaire and Ginger Rogers in this hugely entertaining love letter to the golden age of Hollywood and traditional Jazz music.
A comedy, romance, drama and musical all encompassed into one sublime production, we follow Jazz musician Sebastian (Gosling) and aspiring actress Mia (Stone) as they seek to follow their dreams, and head down the road of self discovery and sacrifice. Having previously worked together on the brilliant Crazy, Stupid, Love (and not-so-brilliant Gangster Squad), the chemistry between the leads is palpable as they embark on a blossoming romance and enable each other to pursue their own ambitions.
This idea of following one's dream encapsulates the very essence of the movie and it is a theme enhanced by the majestic, fantastical and dream-like world which Chazelle has created for his protagonists; a beautifully crafted stage on which possibilities are endless if you persevere. Indeed, this Hollywood that Chazelle portrays is encased in a sense of nostalgia and romance for the lost magic of what music and movies were all about; art forms within which anything can happen and anything can be created. Such is the nostalgia here, Chazelle even filmed La La Land in wide-screen Cinema Scope as a deliberate homage to the style and feel of the movies from the 50s and earlier. There are references to this bygone age, too, with Mia discussing how she grew up watching classics like Casablanca and Bringing Up Baby. She even works at Warner Brother Studios where parts of the film take place and classic sets from vintage movies are seen. Sebastian, meanwhile, complains that "Jazz is dying" in a plea for this particular art to be saved yet struggles to make it relevant for a modern audience. He is asked, "how can you be a revolutionary when you are such a traditionalist?" and it is a question which was perhaps considered by Chazelle when creating this homage to a mainstream audience.
This vintage style is evident throughout the film and especially in the sporadic musical sequences in which Gosling and Stone were mesmerising as they performed their dance routines and songs with hugely impressive assurance and skill. Whereas Gosling's singing voice is perhaps on the weaker side, his delivery was perfectly befitting of the character he portrays, whilst Stone was utterly captivating in all of her routines, but particularly during her solo towards the end of the movie.
Both Sebastian and Mia are such likable characters who complement each other so well that they add a huge element of charm to an already uplifting premise. It's near impossible not to root for the both of them and support them as they pursue their dreams, and as such it's heartbreaking when we witness the sacrifices they have to make in order to do so. It is here the dramatic element comes into play, ensuring La La Land never becomes too saccharine or twee. It could have been easy for Chazelle to get lost in a world of fantasy and endless opportunity but he reigns in the nostalgia and the sentiment by bringing his characters back down to earth and reminds us that following one's dream is not easy nor simple, but that it takes hard work, perseverance, compromise and of course, sacrifice. Credit is therefore heaped further on Gosling and Stone who put Sebastian and Mia through a roller-coaster of emotions throughout, as they celebrate their successes, feel humiliated at their failures, and laugh and cry together. Perhaps the most heartening aspect of all is the way in which they support and encourage each other and refuse to let each other ever give up on their dreams; it's a hugely inspiring notion.
Complimenting this degree of restraint which Chazelle imposes on his protagonists, both Gosling and Stone deliver perfectly pitched and understated performances which also serve to enhance the sheer scale and scope of not just the musical sequences, but the production as a whole. This is perhaps epitomised by the very opening sequence; a single-take shot of an entire freeway traffic jam breaking out into a fanfare of song and dance which sets the standard for the rest of the film; catchy music, sublime choreography, and the panning out of the freeway in order to fit in the vast Los Angeles landscape hints at the grandiose nature of the production.
The music that is played throughout is not to be ignored. Justin Hurwitz had teamed up with Chazelle on Whiplash and returns here with a score and soundtrack that brings La La Land to life. For a musical, there are not actually that many song and dance routines, but music as a medium is a pivotal and consistent theme here and one that Chazelle ensures is not lost amongst the Hollywood nostalgia. The choreography also deserves a mention for enabling some truly memorable scenes, none more-so than Sebastian and Mia's first dance together in a setting which truly embodies the library of classics which Chazelle is paying tribute to.
Perfect performances (including solid support from the likes of J.K. Simmons and John Legend), fantastic routines and wonderful music all combine to tell a relatable message delivered by superbly written characters, which serves to make La La Land one of the most enthralling, magical and enjoyable pieces of cinematic escapism and entertainment in years.
For further movie reviews, please visit: https://www.facebook.com/JMCReelReviews/
Directed by Damien Chazelle following up on the excellent and critically acclaimed Whiplash, La La Land sees Ryan Gosling and Emma Stone deliver performances reminiscent of Fred Astaire and Ginger Rogers in this hugely entertaining love letter to the golden age of Hollywood and traditional Jazz music.
A comedy, romance, drama and musical all encompassed into one sublime production, we follow Jazz musician Sebastian (Gosling) and aspiring actress Mia (Stone) as they seek to follow their dreams, and head down the road of self discovery and sacrifice. Having previously worked together on the brilliant Crazy, Stupid, Love (and not-so-brilliant Gangster Squad), the chemistry between the leads is palpable as they embark on a blossoming romance and enable each other to pursue their own ambitions.
This idea of following one's dream encapsulates the very essence of the movie and it is a theme enhanced by the majestic, fantastical and dream-like world which Chazelle has created for his protagonists; a beautifully crafted stage on which possibilities are endless if you persevere. Indeed, this Hollywood that Chazelle portrays is encased in a sense of nostalgia and romance for the lost magic of what music and movies were all about; art forms within which anything can happen and anything can be created. Such is the nostalgia here, Chazelle even filmed La La Land in wide-screen Cinema Scope as a deliberate homage to the style and feel of the movies from the 50s and earlier. There are references to this bygone age, too, with Mia discussing how she grew up watching classics like Casablanca and Bringing Up Baby. She even works at Warner Brother Studios where parts of the film take place and classic sets from vintage movies are seen. Sebastian, meanwhile, complains that "Jazz is dying" in a plea for this particular art to be saved yet struggles to make it relevant for a modern audience. He is asked, "how can you be a revolutionary when you are such a traditionalist?" and it is a question which was perhaps considered by Chazelle when creating this homage to a mainstream audience.
This vintage style is evident throughout the film and especially in the sporadic musical sequences in which Gosling and Stone were mesmerising as they performed their dance routines and songs with hugely impressive assurance and skill. Whereas Gosling's singing voice is perhaps on the weaker side, his delivery was perfectly befitting of the character he portrays, whilst Stone was utterly captivating in all of her routines, but particularly during her solo towards the end of the movie.
Both Sebastian and Mia are such likable characters who complement each other so well that they add a huge element of charm to an already uplifting premise. It's near impossible not to root for the both of them and support them as they pursue their dreams, and as such it's heartbreaking when we witness the sacrifices they have to make in order to do so. It is here the dramatic element comes into play, ensuring La La Land never becomes too saccharine or twee. It could have been easy for Chazelle to get lost in a world of fantasy and endless opportunity but he reigns in the nostalgia and the sentiment by bringing his characters back down to earth and reminds us that following one's dream is not easy nor simple, but that it takes hard work, perseverance, compromise and of course, sacrifice. Credit is therefore heaped further on Gosling and Stone who put Sebastian and Mia through a roller-coaster of emotions throughout, as they celebrate their successes, feel humiliated at their failures, and laugh and cry together. Perhaps the most heartening aspect of all is the way in which they support and encourage each other and refuse to let each other ever give up on their dreams; it's a hugely inspiring notion.
Complimenting this degree of restraint which Chazelle imposes on his protagonists, both Gosling and Stone deliver perfectly pitched and understated performances which also serve to enhance the sheer scale and scope of not just the musical sequences, but the production as a whole. This is perhaps epitomised by the very opening sequence; a single-take shot of an entire freeway traffic jam breaking out into a fanfare of song and dance which sets the standard for the rest of the film; catchy music, sublime choreography, and the panning out of the freeway in order to fit in the vast Los Angeles landscape hints at the grandiose nature of the production.
The music that is played throughout is not to be ignored. Justin Hurwitz had teamed up with Chazelle on Whiplash and returns here with a score and soundtrack that brings La La Land to life. For a musical, there are not actually that many song and dance routines, but music as a medium is a pivotal and consistent theme here and one that Chazelle ensures is not lost amongst the Hollywood nostalgia. The choreography also deserves a mention for enabling some truly memorable scenes, none more-so than Sebastian and Mia's first dance together in a setting which truly embodies the library of classics which Chazelle is paying tribute to.
Perfect performances (including solid support from the likes of J.K. Simmons and John Legend), fantastic routines and wonderful music all combine to tell a relatable message delivered by superbly written characters, which serves to make La La Land one of the most enthralling, magical and enjoyable pieces of cinematic escapism and entertainment in years.
For further movie reviews, please visit: https://www.facebook.com/JMCReelReviews/