Tag Archives: Paul King

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Candy Man

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Wonka

by Hope Madden

Multiple generations have been simultaneously scarred and entertained by Willy Wonka. Roald Dahl’s book leapt to the screen in 1971, and if we weren’t horrified by four grandparents choosing never to leave a single bed, we were terrified by Wonka or Slugworth or the Oompa Loompas. And if not, we were pretty sure people died on this chocolate factory tour.

And then in 2005, Tim Burton took his shot. There were giant teeth and Christopher Lee, which only added to the trauma.  

You know who can make a Willy Wonka story that isn’t nightmarish? That guy who does the Paddington movies. Yes, Paul King co-writes and directs a delightful, never traumatic tale of young Willy Wonka (Timothée Chalamet) out to find his fortune as a chocolatier.

There is just something about King’s low-key whimsy that sits nicely. Gone is the macabre that haunted the other two Wonka iterations, replaced with a dash of grief and a spoonful of Dickensian working conditions.

Wonka heads to the big city with little more than a hatful of dreams. But he quickly learns that “the greedy beat the needy” as nefarious types take advantage of Willy’s good nature and naïve disposition. From slumlords (Olivia Colman, Tom Davis) to corrupt constables (Keegan-Michael Key, often in an unfortunate fat suit), to the greedy chocolate cartel. Plus there’s a vengeful Oompa Loompa (Hugh Grant) on his tail. But with friends and imagination – and chocolate – things never look too dire.

Wonka is a musical, which is its weakest element. No one sings particularly well, certainly not Chalamet, and the new songs don’t leave an impression. But Chalamet is endlessly charming, and an appealing supporting cast keeps things lively.

King’s visuals are intricate, vibrant and joyous as ever, which is a key ingredient in Wonka’s success. It’s a delight to watch. Though it never reaches the heights of either Paddington film, Wonka delivers family friendly and fun without any of the scarring side effects of the last two efforts.

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A Very Rare Sort of Bear

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Paddington 2

by Cat McAlpine

Paddington 2 paints a beautiful, pop-up love letter to London. It breaks down something like this:

Wes Anderson aesthetic + Lemony Snicket whimsy + marmalade = Paddington Bear’s latest adventure.

Sure, this is a kid’s movie. The main character is a talking bear. His greatest aspiration is to buy a rare pop-up book of London for his Aunt’s birthday. In most ways, the film is predictable. Almost rote. But there’s some sparkle there, too.

Firstly, the movie is incredibly well lit. Lighting this good has no business in a children’s film’s sequel. And yet there it is. Warm yellow homes, moody shafts of light through window panes, snowy alleyways. That light isn’t wasted either. It illuminates bright, punchy sets and colorful costumes hung on a parade of quirky characters.

The Wes Anderson inspiration shows up in bright green rooms and pastel pink prison uniforms. Director Paul King finds sweetness in even life’s most ordinary moments. Where he cannot find sweetness, in a grimy pipe or a shattered telephone box, he finds curiosity instead, playing with light and camera angles.

Following a pop-up book of London, King makes sure to hit all of London’s beloved landmarks. London is a part of Paddington’s mythology. It’s a magical kingdom full of fun and mystery. King paints the city beautifully.

Secondly, what a cast. Sally Hawkins, fresh off her incredible performance in The Shape of Water, oozes gumption. English favorites parade across the screen: Peter Capaldi, Richard Ayoade, Brendan Gleeson.

None quite as fun, though, as Hugh Grant in his role as an unhinged stage actor. As the baddie, Grant never slips into evil. Nefarious, yes, but never evil. King keeps his film silly, always, but never allows it to be hollow.

For every predictable gag there’s a genuinely funny moment, too. Good children’s films cater to their whole audience, kids and parents. Its important to screen films like these in theatres. I was reminded of this when a character passed out, face down, into a cake. The children in the audience shrieked with delight.

That’s Paddington 2’s final merit. It’s good natured. It has jokes, visual gags, and constant reminders to be kind. Paddington believes in himself, his family, and his friends. Sure, a children’s film about a talking bear isn’t destined to be profound. But it manages to be sweet all the way through, just like marmalade.