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    ‘Good Grief’ Review: Somehow, Life Goes On in Daniel Levy’s Film

    In his feature directorial debut, Daniel Levy applies a light but wise hand to a man navigating life after loss.Romantic comedies are powered by farcical set pieces like missed connections, mistaken identities and mix-ups that lead to happy-ending fantasies. (They’re all modeled on Shakespeare, in the end.) Those sorts of moments do abound in “Good Grief,” which features pretty urbanites in pretty places learning lessons about friendship, life and love, just like a rom-com would. But to the immense credit of the movie’s writer, director and star Daniel Levy (of “Schitt’s Creek”), this is a very different kind of movie — and a much better one.That’s not to say “Good Grief” isn’t funny, because often it is. But it’s as if the familiar madcap beats have been wrapped around a drama, and the result is somehow light-handed yet deft and authentic in its treatment of grief’s long tail. The man at its center, Marc (Levy), is an artist living in London whose husband, Oliver (Luke Evans), dies in a car accident, leaving behind a lot of loose ends, some of them hidden from his loved ones. Marc tries to navigate the first year of life as a stunned widower with the help of his friends Sophie (Ruth Negga) and Thomas (Himesh Patel). They’re all creative people — Sophie designs costumes for movies, Thomas works at a gallery — and all in their late 30s, with a long history behind them. Each also harbors long-simmering hurts of their own, and when the three spend a weekend in Paris together, things come to a head.This is the sort of film you want to live inside, with beautiful furnishings, glowing light and an affluent coziness that verges on Nancy Meyers territory. Oliver was the author of a Potter-esque young adult book series that spawned a successful film franchise, so he leaves Marc comfortably well-off, with a gorgeous house into which Thomas simply moves to keep his friend company. Without having to grapple with how Marc will pay his bills — a familiar complication of sudden loss for many people — “Good Grief” is freed to focus on more existential and emotional dimensions. When you’ve entwined your life with someone else’s, what happens when they’re gone? When love evaporates without warning, how can you keep living?The answers are complex, because everyone experiences and processes various stages of grief differently. Feelings zig and zag. We try things to drown out the pain, feeling better one day and horrid the next. Nothing moves predictably. Nobody can tell you how to fix it, because it can’t be fixed, only lived through.Levy’s script navigates all of this complexity nimbly, never over-explaining what Marc is going through. Instead “Good Grief” does that rare, beautiful thing: It trusts the audience to pay attention. It’s restrained in revealing the details of Marc and Oliver’s marriage — joys, sorrows, compromises, conflicts — as well as the back story of the group’s friendship. There are no real twists, and every time it seemed the movie was about to take the easy way out, it didn’t. Thank goodness.How well “Good Grief” works for you may depend on your tolerance for watching long conversations among friends about pain, regrets and loss. Mostly I think it’s effective; a few times, it sags, losing its rhythm briefly in abstractions. But it always returns, generating emotion without diving into a treacly pit of cloying mush. The credit lies with the actors: Negga’s vivacity, Patel’s aching sincerity and Levy’s uncanny talent for great line readings make these people feel instantly recognizable, their chemistry legible as complicated love.Late in the film, Marc admits that when his mother died, he “opted out” of the pain by distracting himself, and now he’s doing the same again. Other characters opt out of their pain by drowning it or denying it or simply refusing to acknowledge it. Yet the pain that accompanies loss sticks around like a hollow spot in your chest, changing shape but never disappearing. In most rom-coms, conflicts tend to resolve easily, all a product of misunderstanding. In “Good Grief,” resolution is not the point. The idea is to keep on loving, to find new life.Good GriefRated R for tragedy, and for 30-somethings behaving like hot messes. Running time: 1 hour 40 minutes. Watch on Netflix. More

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    ‘The Amazing Maurice’ Review: A Cool Cat and His Band of Merry Rodents

    Hugh Laurie voices a quippy, self-referential cat in this animated adaptation of a popular Terry Pratchett book.“You know, in many ways, I don’t think the plot of this adventure has been properly structured,” observes the droll Malicia Grim (voiced by Emilia Clarke) during a brief lull in the middle of “The Amazing Maurice.”An animated comedy based on Terry Pratchett’s semi-parodic children’s novel “The Amazing Maurice and His Educated Rodents,” the film abounds with this style of flamboyant, self-congratulatory humor, as Malicia and the talking feline hero Maurice (voiced by Hugh Laurie) routinely break the fourth wall with satirical commentary and glib meta wisecracking.The effect is a kind of self-important distance, as if the director Toby Genkel and his co-creators considered the material beneath them. What should be a cute story about a mischievous orange tabby cat instead becomes an ironic, even vaguely smug movie in the vein of something like “Deadpool.”The foundation of the story derives from the legend of the Pied Piper of Hamelin — in particular the version made famous by the Brothers Grimm: Maurice and his band of friendly, intelligent rats (among them the voices of David Tennant and Gemma Arterton) travel from town to town feigning an infestation, then providing the helpful services of an ersatz pied piper, Keith (Himesh Patel), to clear it up.The modern, coolly sarcastic big-kid riff on a familiar fairy tale has been done before, most notably in “Shrek.” And while it might still have seemed somewhat fresh when Pratchett’s book was first published, in 2001, it now feels like a poor imitation — doubly so when one considers that the script for “The Amazing Maurice” was penned by the “Shrek” screenwriter Terry Rossio, who, with his constant gags about fairy tale clichés, does little to elevate the copy above the original.The Amazing MauriceRated PG. Running time: 1 hour 33 minutes. In theaters. More

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    Himesh Patel on the Pandemic, Fatherhood and ‘Station Eleven’

    Voting is underway for the 74th Primetime Emmys, and this week we’re talking to several acting nominees. The awards will be presented on Sept. 12 on NBC.“I’m a little bit of a nerd,” Himesh Patel warned.That was on a recent Tuesday evening, on a video call from a red-walled room in his London home. Dressed in a black Adidas T-shirt, with a pair of white stripes snaking down each shoulder, he looked less like a nerd than someone ready to take the field.That is, until he began breaking down strategies for hay and brick trade deals in the board game “Settlers of Catan.”“You’re all sort of trying to trick each other into trading the wrong thing,” said Patel, 31, in a British accent that would be shocking to anyone who had seen only his performance in the post-apocalyptic HBO Max drama “Station Eleven.” The role earned him his first Emmy nomination, for best lead actor in a limited series. His Chicago accent was flawless.Hay and brick trades … Sounds … riveting?“I know,” he said. “It sounds lame, but it’s really fun and there’s lots of strategy involved.”Patel played a different kind of settler on the HBO Max series “Station Eleven,” based on the book by Emily St. John Mandel, which follows the survivors of a devastating pandemic in their efforts to rebuild society — with art and community more than bricks and hay. When Patel’s character, a freelance writer named Jeevan, decides to take in an orphaned young actress, Kirsten (Matilda Lawler), he must also navigate the challenges of becoming a de facto parent.Like Jeevan, Patel was an understated presence on the show, and his nomination — the show’s sole acting nod among the seven it earned overall, including for writing, direction and score — came as a surprise to many, himself included. (He found out on a train ride to visit his parents in London).“I like it that way,” said Patel, who, like Jeevan speaks softly and slowly, weighing every word. “I’m not very good at being on the red carpet.”Patel grew up in Cambridgeshire in eastern England, the child of Indian parents who were both born in Africa. (“I was a child of two worlds,” said Patel, who grew up speaking Gujarati.) He characterized his cultural upbringing as a cross between Bollywood films and fantasy blockbusters like “Star Wars” and “Lord of the Rings.” (If he had not become an actor, he said, he likely would have been a computer modeler.)After spending his teenage years doing plays with a local youth theater, he got his first big break when he was cast in “EastEnders,” the long-running British soap opera, when he was 16. He dropped out of school, then spent nine years playing the role of Tamwar Masood from 2007 to 2016.More on the 74th Emmy AwardsThe 2022 edition of the Emmys, which celebrate excellence in television, will take place on Sept. 12 at the Microsoft Theater in Los Angeles.‘The White Lotus’: Natasha Rothwell’s nomination for her portrayal of an underappreciated spa manager on the show is a pivotal moment for the actress, whose career began on the improv stage.‘Severance’: Christopher Walken and John Turturro, both nominated for best supporting actor in a drama, drew upon their years of friendship in the Apple TV+ techno-thriller.‘Dopesick’: Kaitlyn Dever is up for her first Emmy for her role as a young woman with an opioid addiction in the mini-series. As she prepared for the part, she sought to approach the role with the utmost sensitivity.Although “EastEnders” made him a star across the pond, American audiences began to notice him more when he landed the lead role in Danny Boyle’s 2019 musical romantic comedy “Yesterday,” in which he plays a struggling musician who suddenly becomes one of the few people in the world who remember the Beatles. Then he scored a role as the fixer Mahir in “Tenet” (2020), Christopher Nolan’s time-bending spy thriller.Even more recognize him now because of “Station Eleven” and his most recent film role: Playing the journalist love interest of Kate Dibiasky (Jennifer Lawrence) in Adam McKay’s star-studded 2021 disaster comedy “Don’t Look Up.”“If I’d told my 11-year-old self that, I think he would’ve been like, ‘Shut up, stop taking the piss out of me,’” he said, laughing.“Station Eleven” episodes did not begin airing until late last year, but Patel began work on the series in 2019, when the cast filmed the last shots of Episode 1, in which Jeevan and Kirsten leave the apartment and walk through the snow toward the lake, in Toronto, standing in for Lake Michigan, in Chicago. Then the pandemic sent them into lockdown. (They passed the time by playing board games over Zoom, with “Settlers of Catan” featuring heavily in the rotation.)“We didn’t change the story to try to make it feel more relevant,” Patel said. “But you could feel the influence of the pandemic creeping in.”Himesh Patel with Matilda Lawler in a scene from “Station Eleven.” Patel plays a freelance journalist who takes in an orphaned young girl as a pandemic rages.Parrish Lewis/HBO MaxThe show’s creator, Patrick Somerville, based the screen version of Jeevan on the character in Mandel’s novel, though he said he tailored the character to Patel’s acting style.“He has a stillness about him that was vital to the show actually working,” Somerville said in a video interview from outside the Shedd Aquarium in Chicago, as Lake Michigan waves lapped in the background.“I’m the loudmouth of the group,” he added. But with Patel, he said, he learned that “one line — or no line — could carry the weight emotionally of a scene.”One particular scene in Episode 9, which wasn’t in the book, resonated deeply with Patel: A scene in a makeshift birth center, in which Jeevan becomes a birthing partner to a handful of women. The episode was filmed less than three months after Patel had watched his own wife give birth to their daughter.“I was in the early months of being a father and not knowing the ins and outs of how to do it when we shot that,” he said. “It was so easily accessible because I was going through it.”Lawler, who plays young Kirsten, said she saw a change in Patel after his daughter was born. “He had more of a fatherly presence” in their relationship, she said. (She had advice for him, too, she said: Learn how to braid hair, stat.)In a video interview from sleepaway camp in the Pocono Mountains in Pennsylvania, Lawler, who, as in the series, comes across as much older than her 13 years, said the bond between her and Patel was immediate and effortless — a chemistry that was reflected onscreen.“It’s a strange bond — we just naturally understood each other,” she said.She offered some other insights on Patel: He’s a great dancer. He’s fantastic at Ping-Pong. He’s “taller than I thought” and “absolutely not intimidating as a person.”“It’s disarming how inclusive he is,” she said. “He always made everyone feel really comfortable.”He is also, she confirmed, “kind of nerdy.”Hiro Murai, who was nominated for two directing Emmys this year — for the pilot of “Station Eleven” and for an episode of “Atlanta” — said he and Patel had a number of conversations about how to balance Jeevan’s emotional intimacy and the comedy, particularly in Jeevan’s relationship with Kirsten.“There’s something very funny about a guy who’s kind of a stunted adolescent trying to take care of this little girl who’s much older than him in spirit,” he said. “The humanity was the most important part, and the comedy had to come out of the character rather than leaning into situational jokes.”In the future, Patel, who recently wrapped shooting in Southport, N.C., on “Providence,” an indie murder-mystery comedy in which he stars alongside Lily James and Joseph Gordon-Levitt, would like to do more producing and potentially writing work, he said; one idea is for a series about the lives of the more than one million Indian soldiers who fought for the British Empire during World War I.“Those were a tumultuous few years in Britain in terms of identity and people understanding their cultural history,” he said, “There are lots of stories to help fill in.“What excites me,” he added, “is the opportunity to have so many brown actors in front of and behind the camera.” More