Fifty Shades of Grey: when a fumbling Plain Jane student interviews a perverted and tormented young millionaire both of their lives are oh so romantically changed forever. Firstly; this is the least sexy film you’ll ever see about kinky sex, mostly due to the fact that everything else about it is a total turn off. The dialogue is atrocious; the wannabe racy/saucy lines don’t even come close to innuendo, although with the source material it didn’t really stand a chance. Secondly, the colouring is laughably basic: everything is depressingly washed out and grey (we get it!) except for sexy red things like mood lighting, cars, and arse-smacking paddles. The films is unashamedly uninterested in doing anything even remotely interesting with any of the characters, plot points or even the technical aspects. You want a better love story? Watch Twilight. You want to see some kinky bondage? Browse the internets. You want to see a proper film about this stuff? Watch ‘The Secretary‘, which is better than this in literally every way. As it was obviously going to be a number one smash, Fifty Shades of Grey never had to try, so it didn’t. A ham-fisted, disappointingly fist-free softcore movie with boringly-acted one-dimensional characters on a non-story that takes forever to go anywhere.
PFR is marking the 500th post by putting up a bunch of DVD extras this week. This review is from Susannah at Not Really Working, a site that discusses everything from The Apprentice and Twitter to books and the Premiership!
Trishna: If the idea of Michael Winterbottom directing another Thomas Hardy adaptation fills you with fear and loathing, you should probably give Trishna a wide berth. This loose update of Hardy’s Tess of d’Urbervilles, transplants the action to modern-day India, and stars Freida Pinto as a beautiful young woman with lousy taste in men. When hotelier’s son Jay (Riz Ahmed) offers Trishna a job, a rosy future beckons, with financial security for her impoverished family. But the reality turns out to be utterly bleak and – at times – hard to watch. The first half of the film is light on action but filled with stunning photography, as Marcel Zyskind captures the glories of India‘s architecture and landscape as well as the teeming streets of Mumbai. When things go sour between Trishna and the bastard Jay, you’re reminded of other abusive relationships so graphically depicted in Winterbottom’s The Killer Inside Me. I’m not convinced that Pinto has the acting skills to match her spectacular looks, so I became frustrated both by Trishna’s passivity and the deterministic nature of Hardy’s doom-laden story. For a good time, I’d suggest booking a holiday in India, avoiding this film and not packing a copy of Jude the Obscure in your luggage.
Score: 4/10 (2 stars)