In a world filled with serious and kick-ass James Bond’s and Ethan Hunt’s, especially after the expectedly explosive summer blockbuster season and approaching the very serious fall award season fair, one man and one film aims to give audiences the laugh-out-loud moments and gags everyone deserves. Johnny English Strikes Again may be a Rowan Atkinson vehicle for a once applauded physical-comedy actor to cash a cheque in a cultural landscape where audiences are obsessed with uber realism and knock-your-socks off action, but the placement of the newest English film may be the spy’s most daring mission yet.
If you haven’t figured it out already, The Newsroom, the cancelled and highly underwetched, underrated, and heavily missed HBO Dramatic series from the ingenious Aaron Sorkin is absolutely one of my all-time favourite television shows ever created. Given the quip dialogue, snappy political, social and cultural references, not to miss, its absolutely miraculous comedic timing and concurrent content, it is not only one of the best shows to ever premiere on television, but also a necessary viewing. Now if you’re thinking, why in the heck am I mentioning a television show that has nothing to do with the current movie in review, the answer is…everything!
One of the many ingredients that so many romantic-comedies are missing today is the element of truth: truth in the dialogue, truth in its characters and truth in the scenarios the characters are put in. If there is one thing that is obvious about Gillian Robespierre debut feature film Obvious Child, it is that the truth be the guiding light for characters in the film and the film itself.