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Tag Archives: The King’s Speech

Rocket Science (2007)

Think of it as the younger-son of The King’s Speech. Minus all of the royalty.

Reece Thompson plays Hal Hefner, a 15-year-old high-school student with a minor yet socially alienating (and painful) disability: He stutters uncontrollably. He soon finds a light at the end of the tunnel with his disability when a brainy female classmate (Anna Kendrick) cons him into being apart of the debate-team. Hal accepts, but finds problems when these two actually hook-up and start to question that maybe there’s something more between them, or maybe not. It’s all confusion in a high-school setting.

Oh, teenagers.

Take with it what you will, I was actually apart of the Debate Club when I was in high-school for a good year or so. Then, I switched schools, and ultimately lost my love and passion of debating. I still do it from time-to-time when people want to have arguments like, “Avatar or Hurt Locker?“, “Social Network or King’s Speech?”, or my favorite, “Artist or not the Artist?” Yep, that’s about the only type of arguments/debates I seem to have nowadays, but I don’t think even mentioning this slice of my life has anything to do with this review or this movie, because this movie is as much about being part of the Debate Club as much as this blog is about food.

Although I do make some references here and there.

Most indies that play out in the same vein like this, all try too hard. They have a certain bit of quirks that they are way too pleased with, love to show off, and never stop reminding us of. It can get quite annoying after awhile and that’s what has usually come to plague such directors like Jared Hess, Wes Anderson, and even Quentin Tarantino so much in the years. The last subject I never have a problem with, but for those first two? Eh, sometimes I do and sometimes I don’t. It all depends on the context of the story and what it brings to the table. That’s the problem that writer/director Jeffrey Blitz has here.

Too focused in on trying to hide that boner of his.

Too focused in on trying to hide that boner of his.

Blitz apparently took a lot of the material for this flick, from his own adolescence and it shows, because the movie rings very true to what the high school life is really all about. Granted, this isn’t really a movie that takes place in high school and shows you all of the cliques, relationships, friendships, clubs, teachers, lunch ladies, so on and so forth, but just shows the type of kids that go to it and what they think about, whether they are in class or not. Blitz nails down what it’s like to start growing-up, starting to realize that there is a world out there, larger than you even imagined, and start to question everything that you’ve believed in, prior to your next chapter in life. It’s a lot harder than it sounds, but it’s the type of idea that Blitz captures well.

However, where this movie loses itself in is trying way, way too hard to win you over with it’s crazy and wacky quirks. That’s bad because nobody likes when a person tries to show-off what they can do, how many times, and how well they can do it, but what’s even worse is that this movie was really winning me over. It’s not like I went into this movie, was totally taken aback by all of the quirky-humor and automatically made up my mind that this was going to be shit, but it was the exact opposite. I ultimately fell for it’s quirks and even realized that maybe I could get past it all with a sweet story, and an attention to character. But nope.

The film wanted to have it the other way.

Sometimes it’s clever, sometimes it’s not. But overall, it’s just bothersome to see in a movie like this, especially when you know the movie has so much more promise then what it’s actually giving us. Maybe a bit more drama would have narrowed things down for us, or maybe a teeny, tiny-bit more attention to the plot would have helped, but with a film like this that is so pleased with what it has to say or do, you kind of lose the point. And you can totally tell that this movie was trying to tell an important-fact of stuttering and how a person can get through it with time, patience, and determination, but they even sort of make that a joke by the end. It’s still sweet, but does make fun of the wrong things if you think about it. Okay, enough of this.

Back to the goods, baby.

Evil woman.

The determined eyes of a monster.

Newcomer Reece Thompson is really good as Hal Hefner, and does a magnificent job at keeping up his stutter the whole time. That may sound like a terrible thing to say about a character who has a real problem, that real people have to deal with, but it’s the truth: Keeping a consistent stutter must be a pretty hard job. That’s why it’s so great to see this kid pull it off with flying colors, but he’s not all about losing his train of thought, he’s actually more than that. Hal Hefner is a good character because he reminds all of us, a little bit ourselves. He’s young, rebellious, trying to make sense of the world, falling in-love for the first-time, and will stop at nothing to keep that feeling of love and tranquility in place.

Anna Kendrick is just about a household name by now, but people don’t remember when she was just a young, small girl, in a little indie where she got to not only show off her charm, but her comedic-timing as well. Kendrick is awesome at being able to show us how smart and perky a character like hers can be, but also how sinister underneath it all. You never know whether or not to trust this character and all of the hope that she gives to sweet, little old Hal, but you feel Kendrick’s a presence on-screen, and she keeps you watching the whole time.

Makes sense why she’s the star she is now.

Consensus: Rocket Science is maybe way too pleased with itself at times, but also benefits from smart, funny insights into growing up and high-school life.

7 / 10

Oh yeah, and he's a nerd too. Just adding insult to injury there, kid.

Oh yeah, and he’s a nerd too. Just adding insult to injury there, kid.

Photos Courtesy of: Thecia.Com.Au


A Single Man (2009)

If gay means happy, then why is everybody so damn muggy?

Torn apart by the shattering impact of the death of his long-time lover, college professor George Falconer (Colin Firth) experiences the most transitional day of his life, blending past and present, desire and despair, and discovering that love persists even after the object of love is gone.

Way back when in 2009 when this film was making it’s whispers of Oscar-talk for Firth, I really wanted to go see it but didn’t have a car, didn’t know where to see it, and even worse, didn’t really have the time to make out of my day, to go see an art-film like this. However, almost four years later, and with a car, with an idea of where to see it, and with plenty of time in my day, I’ve finally seen it and I’m really pissed at myself for missing-out all these years. Boo, the 16-year-old version of myself!

This movie marks the filmmaking debut of designer Tom Ford and you can totally tell that this guy has had something, no matter how big or little, with the world of designing just by looking at a single-frame of this movie. Everything is so polished, so lavish, so classy, so jazzy, and so beautifully, that you really feel like you are in the 60’s, watching a real story play-out in front of your own eyes. At first, it may seem like the movie is a bit too artsy-fartsy and way too happy with itself, but after awhile, the constant stylized-montages and changes in color, really make sense to the story and actually change the mood of what you are about to see. Yeah, Ford may be obsessed with making things look purrty, almost a bit too purrty, but there is absolutely no problem whatsoever, with keeping a person’s eyes on the screen, especially if your material is weak.

However, you don’t have to worry about that instance here, because the material is very strong in the way it always keeps you riveted and always keeps you interested in what’s going to happen. What I liked so much about this movie, is how simple the story is and yet, it’s always so intriguing into seeing where it goes with itself. You get to see this one man, who’s so heart-broken, who’s so sad, and who’s in so much pain, and you get take a glimpse inside a day of his own life and see where his mind goes throughout the day’s events, and how this one day shapes the rest of his life. We get a crap-ton of memories, flash-backs, and surreal, dream-like sequences, but they all fit within the context of the story and what Ford is going for and it really surprised the hell out of me.

Why Firth was never asked to be Bond, is really beyond me.

Why Firth was never asked to be Bond, is really beyond me.

The feelings you get with this story aren’t life-changing, but they are at least relate-able  considering that this man has lose the love of his life and still has no idea what to do with it. Quite frankly speaking, I think we can all relate to that idea and message, so to see this one man, who we just meet, go throughout his day and struggle with that hurt in his heart and reserve in his step, it’s truly believable to see and very understood. Never has a flick really been so simple like this, yet, make it so much more than what it’s plot seems to out-line. I don’t know if we have Ford to thank for that, or the source material he adapted this from, but I know one person we can thank: Mr. Colin Firth, himself.

Before King George VI, and before he has become to be known as the most-lovable British man on the face of the planet, Colin Firth was one of those supporters you would see in British rom-coms like Bridget Jones’s Diary and Love Actually, and more or less, came-off as the thinking’s man Hugh Grant that just never really got the shot to take a film, that he so rightfully desired. Here, as George Falconer (pretty boss name to have on your birth certificate), Firth gets to show everybody why he deserves that shot and shows us all why he can do almost anything and everything, with one, simple look on his face. This performance isn’t all about theatrics, it isn’t all about him yelling and screaming the whole time, and it sure as hell isn’t about him just breaking down every five-seconds so we get the idea that he’s sad, this is more of a performance that’s all about being subtle and understated, while still making us feel something for this guy, that we literally just met right-off-the-bat.

Still, as much as you may feel bad for this guy and all that he’s going through, Firth still has plenty of charm and wit to him to where you really feel like he’s the type of sad-sack you would want to cheer-up, whether it be sexual or just a regular, shared-brewskie at the bar. Firth has that every-day man, sense of likability to him that works so damn well with this role and it’s a real wonder why it took him so freakin’ long to nab a leading-role in a flick like this. I would hate to sound cliche and obvious by stating that George Falconer was the role Firth was born to play, but after seeing this flick and seeing all that he can do with a simple-script like, it would be damn-near impossible to state anything different. If Jeff Bridges didn’t get the pity-win for Crazy Heart that year, you can bet your sweet ass that Firth would have been the next in-line for that win.

If that sweater doesn't spell out, "G-A-Y", then I have no clue what will.

If that sweater doesn’t spell out, “G-A-Y”, then I have no clue what will.

Since Firth is so damn good as Falconer and just about steals this movie from underneath his feet, the rest of the cast sort of pales in-comparison and that’s a problem when you have a film like this that relies so heavily on everybody else coming in to spice the story up away from Falconer. Julianne Moore is surprisingly raw as Falconer’s bestie/ex-lover, Charley, and is very interesting and fun to watch in a role where she just lets loose on all of her grubbiness and grit, but also feels like she should have had more to do here. She shows-up for a scene or two, does her vulnerable-act, and is essentially gone from the rest of the movie. That’s not so bad since Firth is a revelation to watch, but the film would have definitely been a lot better had they given more scenes to him and Moore together. Then again, it’s not a terrible thing when you have an actor like Firth and performance like his.

Matthew Goode only shows-up in flash-backs as Falconer’s deceased-lover, and brings enough heart and warmth to a character we really need to know more about to fully invest ourselves, and does a good job. But like Moore, I just wish there was more of him to fully get us going. And lastly, Nicholas Hoult plays a student of Falconer’s that seems to be almost obsessed with him and constantly stalks and asks him questions, that would make any person just cringe right-away. Hoult definitely gets a chance to show everybody that he’s grown-up (especially when he’s butt-naked a few times), but that’s about it as the kid definitely left his acting-skills with him back in his adolescence. It’s not that he’s a bad actor, it’s just that this character is so one-note and obvious that once you start to see his true colors pop-out, it’s so glaring that it’s distracting to the rest of the film that seemed to be all about having subtle, but heartfelt emotions about life and love. Hoult definitely looks the part of a confused, 60’s-era college-student, but doesn’t feel like it and when you put him up-against Firth, it’s too obvious to set-aside.

Consensus: Thanks to an amazing performance from Colin Firth and an artful direction from Tom Ford, A Single Man may be simple, but still has the power of a wrecking ball to hit your brain and your mind with it’s ideas and thoughts about life, love, and heart-ache, but yet, also feels like it could have been so much more if there had been more time and grace given to everything else.

8 / 10 = Matinee!!

"Cloudy day, isn't it?"

“Awfully cloudy day, isn’t it?”

Hyde Park on Hudson (2012)

FDR was the perfect family man. Just don’t let him stay alone with your oldest daughter.

The story takes place over a weekend in 1939 where a little-known and rather peculiar affair FDR (Bill Murray) had with his cousin Margaret ‘Daisy’ Stuckley (Laura Linney) took place, as well as a visit from King George VI and Queen Elizabeth at their upstate New York cottage.

Without Franklin Delano Roosevelt, who knows what the hell type of state our country would have been left in. Not only did he get us through one of the worst times to ever be alive and live in America (The Great Depression), but he also got us through a Second World War. Basically, when it comes right down to it, the man is an inspiration to all Americans, let alone, human-beings out there and it only seems suitable that the guy be part 2, of 2012’s “president-gets-a-movie-year”. However, I wish it wasn’t this movie.

Taking the same approach that Lincoln did, as instead of focusing on the president’s whole life and adventures, they take a little snap-shot of his life and whereas that movie seemed to be focused on a more-important aspect of Honest Abe’s life, this story takes place around a time of FDR’s that should seem important and should seem interesting, but simply, is not. Director Roger Michell definitely seems like he wants to have fun with this story and make it seem like we really are there for the weekend, just as much as the King and Queen are, but we never really get that true-essence of fun, mainly because of who the story is focused on and why.

Instead of making this an important story about FDR and King George VI became buddies, in order for England and America to unite and fight WWII together, the story is more about how FDR got his rocks off with his 5th cousin. That’s all juicy and sensational and definitely provides an interesting-take on a romantic-comedy plot-line, but is just boring and after the first 10 minutes where FDR and Daisy share an intimate moment in a field together (which is one of the biggest “WHAT THE FUCK?!??!” moments of the year) it all goes downhill from there and never brings us back-up to date with anything that’s going on or what’s going to happen. Seriously, after that scene, you’re not going to know what to think and keep on wondering as to whether or not you should laugh, leave, or just laugh, in the unintentional way. Your pick, I guess.

Underneath this semi-romantic story, actually lies a deep and understood one about the uniting of these two nations and they definitely provide some of the best scenes of the whole frickin’ movie. There’s a sweet, subtle scene between King George VI and FDR where they both chill out, share a couple of after-hour martinis, and just shoot the shit on being a ruler, being the hot-shot on campus, and most of all, just life in general. Since the story/movie is apparently supposed to be told through Daisy’s eyes, it’s a tad strange that we get a look at this private moment between the two, knowing that it could have never been seen through her eyes, but regardless, it’s still a nice, heartfelt scene that shows that maybe this movie can do more than just try it’s hardest at giving us a weird-romance to care about.

However, it falls right back into it’s formula that it tried so hard to leave in the first-place and just really bummed me out since there is promise for a strong story here, but no Michell just wanted to keep on throwing soapy melodrama at us, as if we care for this relationship in the least-bit. Anytime Daisy gets upset over the fact that FDR is doing things that takes his eyes and attention away from her, she slips into a rage-fueled break down that makes her seem so childish, and just makes the movie seem all the more dramatic than it needed to be. It wouldn’t have sucked so much if we gave a crap, but the fact of the matter is, we just don’t and I would have much rather seen the film about FDR and the King and Queen getting along, rather than him and his cousin, well *ahem* getting along.

What also makes Daisy the weakest and most annoying-aspect of this movie is the fact that Laura Linney seems terribly miscast as her, simply because the gal is a bit too old. No offense against Linney, but she’s almost 50 and she’s playing a person that has the emotions and love-swindles of a 7-year-old girl who finds her first-crush in the playground out in the school yard. Linney does what she can with this mediocre role, but it isn’t enough to save her character from being really, really strange, not just by how she reacts to FDR’s womanizing-ways, but also to how she falls in love with the guy in the first-place. Other than the infamous field scene, there really isn’t all that much between the two that would really have me feel the love and in the end, just ends-up less and less believable as the story goes on. Yes, I know it’s a real-life account that is straight-from the personal diaries of Daisy, but there has to be some sort of dramatic-license taken here. There’s just gotta be!

The most interesting aspect of this whole movie, and probably the best as well, is the fact that it has Bill Murray playing non-other than Mr. FDR himself, and it’s a move that not only seems like a stretch, but also pretty risky, right? Well, in a way, it is a pretty risky maneuver trying to have one of the most famous comedians of all-time, play one of the most iconic president of all-time with little or no make-up used, but it’s a risky maneuver that Murray does very-well of getting past, mainly because the guy just has the most lovable screen-presence of any comedian/actor working today. Not only does Murray capture the undeniable fun and charm that was behind FDR and all his ways, but he also captures the presence of a dude that could never stand, yet was the happiest and tallest one at a party, mainly because of his happy-go-lucky personality towards everything. Sometimes when I was watching him, it really seemed like it was Bill Murray playing Bill Murray, rather than it being Bill Murray playing FDR, but I could mainly get past the fact and just enjoy the hell out of Murray and all that he did, and could do as FDR. It’s just a shame that DDL had to come-out and play Honest Abe in the same-year as Murray playing FDR, because the guy would have gotten some real Oscar-talk.

Possibly the biggest-stretch of this whole movie that wasn’t even apparent to me until I started watching was how this movie featured both the same King and Queen, that were portrayed by Colin Firth and Helena Bonham Carter so famously about 2 years ago with The King’s Speech. It would almost seem like blasphemy to try and feature another movie with the same real-life figures, and not have them be played by Firth and Carter, but surprisingly, Samuel West and Olivia Coleman take over those roles pretty-well and are most likely the most interesting-aspects of this movie. West does a nice-job with the stammer and doesn’t go into a full-on Firth-impersonation, and Coleman allows herself to be a little weird, but reasonable as the Queen, but when then are together, it’s just so fun and electric to watch that you really feel like you’re watching a married-couple that knows each other so, so very well. However, it probably would have been way more epic to see Firth and Carter, come over from that movie into this and give a little two cents of their own. Now that, my friends, is an Oscar-caliber movie. And probably a lot better than The King’s Speech, if you don’t mind me saying so myself.

Consensus: With so much promise in the air, it’s a total bummer to admit that Hyde Park on Hudson fails to bring-out any type of importance out of it’s somewhat, historically-important story, and instead, decides to just focus on how much FDR liked his stamp collection, martinis, and most of all, some nice booty here and there, especially the ones that weren’t his wives. Yeah, that’s exactly how we all want to remember one of our finest presidents of all-time.


Also, if you have any extra-time in your day, go on over to GuysNation and check out my latest post of Movied. Thanks!

Oscar Predictions and Thoughts for 2011

So as everyone among the film community know, it is Oscar time babyyyyy!!! So that means get ready for some of the biggest upsets, wins, and probably tearful moments of the year. It was a great year in the film, and this is what has all come down to it people. The big night, and here are my predictions, I hope I do well.

Best Animated Feature: Will Win: Toy Story 3 Should Win: Toy Story 3 Wild Card: How To Train Your Dragon

Best Documentary Feature: Will Win: Restrepo Should Win: Restrepo Wild Card: Exit Through The Gift Shop

Best Foreign Language Film: Will Win: In a Better World Should Win: Dogtooth Wild Card: Biutiful

Best Documentary Short, Best Live Action Short, Best Animated Short: Will Win: Can’t say I care too much

Best Editing: Will Win: The Social Network Should Win: The Social Network Wild Card: Black Swan

Best Cinematography: Will Win: True Grit Should Win: Inception Wild Card: The King’s Speech

Best Visual Effects: Will Win: Inception Should Win: Inception Wild Card: Alice in Wonderland

Best Sound Editing: Will Win: Inception Should Win: Inception Wild Card: Unstoppable

Best Sound Mixing: Will Win: Inception Should Win: Inception Wild Card: The Social Network

Best Art Direction: Will Win: Alice in Wonderland Should Win: Inception Wild Card: The King’s Speech

Best Costume Design: Will Win: Alice in Wonderland Should Win: Alice in Wonderland Wild Card: True Grit

Best Makeup: Will Win: The Wolfman Should Win: The Way Back

Best Original Score: Will Win: The Social Network Should Win: The Social Network Wild Card: Inception

Best Original Song: Will Win: We Belong Together (Toy Story 3) Should Win: We Belong Together (Toy Story 3) Wild Card: I See The Light (Tangled)

Best Adapted Screenplay: Will Win: The Social Network Should Win: The Social Network Wild Card: 127 Hours

Best Original Screenplay: Will Win: The King’s Speech Should Win: Inception Wild Card: The Fighter

Best Supporting Actress: Will Win: Hailee Steinfeld Should Win: Melissa Leo Wild Card: Amy Adams

Best Supporting Actor: Will Win: Christian Bale Should Win: Christian Bale Wild Card: Geoffrey Rush

Best Actor: Will Win: Colin Firth Should Win: Jesse Eisenberg Wild Card: James Franco

Best Actress: Will Win: Natalie Portman Should Win: Natalie Portman Wild Card: Annette Bening

Best Director: Will Win: David Fincher Should Win: David Fincher Wild Card: Tom Hooper

Best Picture: Will Win: The King’s Speech Should Win: The Social Network Wild Card: Toy Story 3

I must say that this is a pretty solid year for the Oscar’s this year. All the nominees look just about right the only problem is how will the picks turn out? This year, everything seems like it’s coming down to Old School (The King’s Speech) vs. New School (The Social Network). The past couple of years The Academy (I hate that word) has been looking more towards hip, new films to win it’s Oscar Best Picture. Films such as Slumdog Millionaire, The Hurt Locker, and American Beauty have all been unconventional new films that have seen their taste of Best Picture gold. But there has also been countless period piece wins for films such as Gladiator, Shakespeare In Love, and The English Patient. Also, many other major award shows have already presented the Best Picture win to The King’s Speech which is really chasing up people’s noses, as many other award shows have been choosing The Social Network as theirs. In my opinion, I liked Inception more than both of them, and yeah it’s nominated, but in all honesty it has no chance of winning. When it comes down to it I think that The Social Network should win, because it is an age-defining film, that went from being known as “The Facebook Movie” to being known as the top contender for every Oscar it’s nominated for. I hope that The Academy goes for the new school, because if they had The King’s Speech win, everyone would feel robbed really.

As for Best Actor, I think that Firth deserves to win for all his years dedicate to films, but Eisenberg fully deserves it. I think what the Academy is doing more and more now, is honoring actors & actresses not for just a certain performance they had, but their careers and saying that it’s their time. I don’t mind seeing stars like Jeff Bridges, Kate Winslet, or Colin Firth win an Oscar, because of the career they have but I’d rather see the “best performance of the year award” go to the BEST PERFORMANCE OF THE YEAR.

When it comes to the Best Actress category, it seems like Natalie Portman is the sole winner for here, as she has won almost every single Best Actress nomination at every award show. However, there is once again that little idea that it’s Annette Bening’s “time” to win, as she has been nominated twice, and still has not won yet even though her career has been going on for so long. I want Portman to win, and most likely she will, but I still have a feeling that The Academy may pull something out of their pockets and surprise us all with a Bening win.

I’m very disappointed that my main man Christopher Nolan was not nominated for Best Director this year. He was snubbed for The Dark Knight, and now he’s being snubbed again, and it just pisses me off knowing that certain directors that do such a good job with daring material, don’t get the credit they deserve. I think if Nolan was nominated, he should have won, but I know it’s The Oscars, and not everything works out the right way.

This year had great films, and I’m glad to see that the Oscars have turned out to be this way. I loved 2010 as a year, and the films made it awesome. Here’s to 2011, and let’s just hope that the Oscars are awesome.

Thanks everybody for always reading, and keep on checking!!

The King’s Speech (2010)

Hugh Grant really is going to kill someone!

Britain’s King George VI (Colin Firth) struggles with an embarrassing stutter for years until he seeks help from unorthodox Australian speech therapist Lionel Logue (Geoffrey Rush) in this biographical drama. Logue’s pioneering treatment and unlikely friendship give the royal leader a sense of confidence that serves him and his country well during the dark days of World War II.

Period Pieces really haven’t been as great as they used to be. And after this one, it looks like they may be right back on track.

You really do feel like you are in 1920’s-1930’s Britain with this movie. The set pieces look so realistic, as if they were almost all taken out of a old photograph, and the costumes all feel ripe and in style just like the time. For anybody that likes to look at old outfits from the 20’s, and feel like their there, this is surely the film.

The dialogue is also very good presenting a lot of the problem’s that people face with a stuttering problem, as well as kingship, and the honor as well as pressure it holds. The only problem I had with this movie, is that it really is nothing different. It is your typical, inspirational story, that takes the route your expecting it to right from the beginning. In all honesty, it’s not a good thing, but yet at the same time, it’s not a bad thing either. The film is pleasing because it keeps you entertained even though you know where this film is going, and it really is a film that the whole family can watch and learn something from it. Hell, my grand mom saw this before me, that just shows you the films appeal. At times it does get too sweet for my taste, and in the middle there is a bit of a drag within this film, and it doesn’t quite know how to get itself out of it.

It really is a film that since I’ve watched it already, I can say that I have watched it and be done with it. I’ll watch it maybe in the next year or two with my pop-pop, and I’ll like it, but it won’t be something that I’ll watch again, and again.

Colin Firth who has been in all those British romantic comedies, and every weird girls English sexual fantasy, does a very good job here of playing King George VI. He’s faced with the challenge of a stutter which from an actor’s perspective, is hard to pull off but he really does well here. He may not be the heart-throb in this that many expect from him, but he has that signature likability, almost that palpable general goodness about him that wins you over right away. I also liked seeing Helena Bonham Carter actually in a normal persons role, rather than the crazy, weird-looking Tim Burton/Harry Potter films. When she was starting out she was in a lot of period pieces, and it was nice to see her return to form once again. The best performance out of this cast is Geoffrey Rush, who I have never seen half-ass a role in his career. He’s frank, funny, and likable and brings so much to the screen every time he’s on, cause you can tell he really is having a great time with this material, and that didn’t bother me one bit. The times he and Firth are on screen together, feel genuine and really do bring out a lot of emotion within this film that I was not expecting. Also, many other familiar faces show up such as Guy Pearce, Derek Jacobi, Michael Gambon, and Timothy Spall.

Consensus: Though you know the direction of where it’s headed, and it’s not something different, but with its great performances, and realistic feel and look of the 20’s, you still can’t help but fall for the goodness that is The King’s Speech.