Parade's End

Set in early twentieth century England, during possibly the greatest period of change in modern times, Parade's End follows young gentleman Christopher Tietjens, struggling to uphold his exacting moral standards against a developing love triangle and a rapidly industrialising world.

The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's End.  The beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.

The central love story hangs on three very different types, each brought to life in a nuanced performance.  Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect.  Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic.  Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.

The small scale of their story is set against the sweeping change which characterised the period.  A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.

As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.

Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office?  For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.

Are We Officially Dating?

Meant to be a comedy, Are We Officially Dating? follows three New York guys who've made a pact to stay single after one of them suffers a break up.  Cue crazy testosterone-fueled adventures!  Except, not.  It turns out their idea of staying single is achieved not by spending time with their mates, but by spreading themselves through a "roster" of girls with no expectations, providing sex-on-tap without complications like, you know, talking.

The film has been released in Australia and New Zealand with the more optimistic working title from the screenplay, rather than the prophetic US That Awkward Moment: that moment being almost the whole film, but also referring to the point at which one partner starts to think sleeping together equals relationship, and must therefore be dumped.

Of course, the heart-warming message of the film is that each of the guys finds someone he enjoys spending time with, and starts to grow up - but because he's loyal to his friends and the safety net of their pact, is "forced" into all sorts of denials and problems which screw up the budding relationship.  Through this terrible turmoil, (spoiler alert!) the guys realise female companionship isn't so bad, and luckily, because they've had the great taste to pick such cool chicks, all they have to do is suffer a little physical discomfort while making apologetic gestures - and no matter what he's put her through, the girl will take him back!

It tries hard to make you think it's funny, and never raises more than a snigger, but the saddest thing about Are We Officially Dating? is the filmmakers obviously believe they've created strong, feisty women for their three bros.  It shouldn't have to be pointed out to them that a few quippy lines and some kooky behaviour added to a sex toy doesn't actually make it a woman.  None of the girls here have any agency or even friends of their own: they're islands in a world of men, their choices limited to resisting a guy for a while, waiting for him to call, or leaving him for another man.

Are We Officially Dating? is a misfire - too soppy for guys, but too deeply misogynistic for anyone but a (hopefully very young) guy to find funny.  Officially, don't see it.

If you're looking for a silly, formulaic date movie good for girls and guys, don't watch the above.  Friends with Benefits starring Mila Kunis and Justin Timberlake has its weak points, but is a movie about fear of commitment that's actually both funny and romantic.

Frozen

Not only visually stunning, Disney's latest animated spectacular Frozen is already being lauded as a modern classic. It's a thoroughly enjoyable tale, which manages the tricky combination of being true to its genre while simultaneously subverting audience expectations.

Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.

At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!

Keen to see another Disney movie with a modern twist?  Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.