The letter is not from the director or any other filmmaker.  It comes from protagonist Oliver Tate.  He’s a fifteen year old, slightly awkward boy who is having trouble finding out who he is–attempts at solving this problem include listening to French crooners, flipping coins, and, as he puts it, a brief hat phase.  His pseudo-existentialist problems (he is, after all, just like everyone else) seem to be put on hold by the appearance of one Jordana Bevan (Yasmin Paige) with whom he forms a rather frank, romantic relationship (terms of intimacy are verbally agreed upon in full beforehand).  In the backdrop of his home life, Oliver’s parents, Jill and Lloyd, are experiencing marital problems, partly due to his father’s (Noah Taylor) seemingly severe depression.  And partly due to the reappearance of one of his mother’s (Sally Hawkins) old flames, Graham (Paddy Considine).

What the plot makes up for in originality, the film makes up for in character.  After all, none of the events in Submarine are that uncommon.  Oliver, played by Craig Roberts, offers continuous voice-over narration and explanation, a risky device, but it works here for the most part.  The succinct dialogue that never feels too much like forced irony, maintains its freshness for the majority of the film’s run time.  By the end, however, it wears thin on patience.

Graham’s presence, a situation Oliver fears will evolve into an affair, ruining his parent’s relationship that he’s trying to save, wanders into Napoleon Dynamite territory: he’s a new age guru with an incredible mullet (Oliver’s story may or may not take place in the 80s). His scenes effectively truncate the film’s tight pacing.  Submarine is at its best in scenes that feature Oliver and both his parents.  Hawkins and Taylor are gifted actors whose nuance is much appreciated in a film that focuses so much on style and comedy.  One of the film’s best scenes include these two sitting cheerily on Oliver’s bed, letting him know in the interest of full disclosure that the night before, Jill gave Graham a drunken handjob, but if everyone was agreeable, they’d like that moment to be the last time it was discussed.

Submarine loses the feel of its creativity by the its final moments, but it’s quite a pleasant ride up until then.

3 out of 4 stars

These special children live at boarding schools across the country. The three main characters in Never Let Me Go live at school named Hailsham.  Their lives there are mostly normal.  The girls and boys fraternize and strike up innocent romantic relationships.  There are popular students, and unpopular students.  They play sports, and earn what is basically spending money.  They’re watched over by adult women, all referred to as ‘guardians.’  Both Sally Hawkins and Charlotte Rampling play in these curiously monotoned roles.  At the end of their education, the children of Hailsham are released into the real world, into group homes, all filled with those waiting to make their donations.

The film is narrated by Kathy, played by Carey Mulligan.  She spents quite a bit of time on her life as a student at her school.  But the most interesting part of the film happens just after their graduation, at their first group home.  Kathy has held amorous feelings for Tommy (Andrew Garfield), but is left out as her best friend, Ruth (Kiera Knightley) has gotten to him first.  The world these three has been released into is not a kind one.  And even with very few influences, among them a TV, and a couple more worldly roommates, it doesn’t take long for the Kathy, Ruth, and Tommy to learn how to hurt each other.

Romanek, once a music video director, worked closely with production designer Mark Digby, and cinematographer Adam Kimmel to paint a world mostly filled with gray.  But occasionally lending itself to dull blues and greens.  Pay special attention to the lighting, which is never anything less than gorgeous.  The muted pallet, the well framed shots full of monochromatic settings, and a storyline that can’t even pretend to hope for a happy ending pave the way to emotional vulnerability for the viewer.  But Romanek made some unfortunate directorial choices that softened any sort of emotional punch that could have been delivered.  The purposely unhurried tone and pacing, which should have encourage introspection and meditation on mortality and love, actually promotes a sluggish, and emotionless reaction to all the goings-on on screen.

As far as performances are concerned, Romanek was blessed with his cast.  Mr. Garfield, who is quickly becoming one of the most exciting young actors working today, has done better in films like Boy A. But he succeeds in portraying a character full of childlike enthusiasm and naiveté for life and love, despite the reality he’s surrounded by.  Ms. Knightley is adequate as well, but has trouble matching the strong presentation of Mulligan as Kathy, despite the amount of redundant narration she is called to do.  Sally Hawkins short screen time is particularly poignant and touching, and proves that a gentle and understated performance is capable of being much more affective than the overtly dramatic.

In the end, the film fails to reach it’s lofty ambitions.  And it’s painful to think of how good Never Let Me Go could have been at the hands of a better director.

3 out of 4 stars

Happy-Go-Lucky is written and directed by Mike Leigh.  Leigh has been directing since the seventies, and his bigger hits include Vera Drake (2004) and Secrets and Lies (1996).  His writing in this film rivals Britain’s The Office (without the incredible awkwardness).  The quick wit and sarcasm is remarkable.  The lead is named Poppy and is played incredibly well by Sally Hawkins (you may have seen her in a small roll in last year’s Woody Allen flick, Cassandra’s Dream).  She’s a thirty-year-old elementary school teacher with great students, great friends, and a fantastic outlook on life.  The problem is, she’s entering adulthood and fighting it all the way.

The opening sequence shows Poppy riding a child-like bike (with a basket and a bell) through downtown London(I think), waving at people she doesn’t know, a goofy smile glued to her face.  She enters a bookstore and tries to make friends with the stand-offish clerk, even though he strongly resists.  She goes straight to the children’s section and peruses the books.  It’s clear from this moment on, that she’s a child, refusing to grow up, despite a clear necessity, and the prodding of those around her.  Her unshakable sense of optimism is never shaken.  When she finds her bike has been stolen, she can’t help but laugh that she didn’t get to say goodbye.  Serious back pain (due to the trampoline lessons she takes after school) simply makes her laugh and start taking flamenco dance lessons instead.  These lessons, by the way, provide the setup for one of the funniest scenes in the movie where intensely passionate, and intensely unstable flamenco teacher (Karina Fernandez) loses control of herself.  Poppy is able to stay positive even during her weekly driving lessons with Scott (Eddie Marsan) who holds such pessimism and contempt for life, it seems it’s his aim in life to break Poppy’s spirit.

Poppy’s friends have the same, or a slightly higher level of emotional maturity.  They’re able to keep good jobs, and take care of themselves (for the most part), but still, they’re definitely not grown-ups.  Happy-Go-Lucky is a compelling character study.  Poppy never comes across as anything but polite, smart and charming.  But between the lines, we can see her brimming with something else.  Is it She can’t handle herself in adult situations or conversations, she isn’t able to add anything to these situations except clever jokes, and witty, but empty banter.  The film is really asking: are we happy?  Despite how much we try and prove to others that we are, it’s what’s inside that counts.  A perky exterior doesn’t mean that someone is satisfied with who they are, and where they are in the walk of life.

Leigh’s direction is terrific.  Sally Hawkin’s gives аn amazing performance.  You’ll laugh to no end.  And you’ll leave this film feeling great, while still taking away some important pearls of wisdom.

4 out of 4 stars

Rottentomatoes: 94% – Cream of the Crop: 100%