Raunchy, unapologetic, and batshit crazy
The Favourite (2018): In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend Lady Sarah (Weisz) governs the country in her stead. When a new servant Abigail (Stone) arrives, her charm endears her to Sarah.
If you're looking for an insane time at the movies right now, look no further. The latest (and greatest) work from director Yorgos Lanthimos (The Lobster, The Killing of a Sacred Deer, Dogtooth) completes an oddball trilogy of films that investigate the human condition via dystopian, supernatural, and now existential views. I believe Lanthimos has been honing his style on his previous two films, crafting works that were memorable but also somewhat flawed in their execution. However, those flaws are nowhere to be found here, and we are gleefully treated to a raunchy, intoxicating period drama on steroids with an out-of-this world story, executed flawlessly, while containing one of the most unique and identifiable footprints in Hollywood today. Safe to say I have a new favorite movie of 2018 so far.
Let's start with the three core characters. Queen Anne, (Olivia Colman) Lady Sarah, (Rachel Weisz) and the newcommer Abigail (Emma Stone) are thrust together almost immediately, and from the opening moments the tone of each character is set. Abigail and her cunning ambition, Lady Sarah's chilling no-holds-barred demeanor, and Queen Anne's relative obliviousness to the events unfolding around her. Yet the one who steals the show (in my opinion, at least) is Queen Anne herself. Despite her obliviousness, her presence is felt in nearly every sequence of the film, regardless of whether she's on screen or not. As her character develops, to say she takes over is something of an understatement. All of this is propped up by Olivia Colman, who's performance as the Queen is one of the best I've seen all year. It is innocent yet chaotic while painting a picture of an incredibly emotional and unstable Queen. The performance even has some "quantifiable" acting by film's end. And, let me tell you.....the ending is a show stopping moment courtesy of Colman. Abigail's casting was initially a head-scratcher, but it didn't take long for Emma Stone to win me over. Her mannerisms are dialed down a bit here, but are more than welcome when they do show up. But, of the three leads, Abigail also has the benefit of the strongest bit of writing courtesy of Deborah Davis and Tony McNamara. More on that later. Stone's accent isn't the greatest, but coming off of Jamie Foxx's joke of an accent in Robin Hood...... I'll be happy with just about anything. Finally, there's Rachel freaking Weisz. While Colman has the show-stopping scene at the end, and the Queen's presence is felt throughout the film, Lady Sarah has a multitude of show-stopping moments in the first and second act of this film, and Rachel Weisz makes these scenes look easy. She is quick-witted, cunning, and absolutely ruthless. There seriously needs to be a villain role in Weisz's immediate future.
While Abigail has the best writing overall of the leads, all three benefit from a terrific script from Davis / McNamara. Undoubtedly the best script of the year so far, the dialogue is sharp, witty, and unapolagetically raunchy, all while still containing that trademarked Yorgos Lanthimos mystique. After all, where else are you gonna get a movie with an 18th-century dance-off? Or razer-sharp tension around shooting pigeons? I really think this film does a good job of keeping things weird while not making them distractedly weird. It's a long cry from Colin Farrell's unsettling deadpan character in The Lobster.
Another part of the masterful execution here lies in the cinematography and editing department. The cinematography is a massive departure from Yorgos Lanthimos's previous works, so it's not too surprising that he collaborated with a new camera man, Robbie Ryan. I'm glad he did because I freaking love the unorthodox angles and brisk tracking shots. And there are multiple lens changes that make the film look like you're literally watching a peephole into these character's lives. All held together by brisk and fluent editing courtesy of Yorgos Mavropsaridis. Oh, and the score selections are amazing too. This film utilizes an entirely curated score, a rare thing in Hollywood nowadays, and it is breathtaking. Honestly, the sound design in general is amazing. The score is dialed up to eleven at some points, but Lanthimos also isn't afraid to cut to silence when he needs to.
Yes, every aspect of this film is absolutely stunning, and it's a triumphant climax for a director that has made his mark on the business the last four years. This film is very polarizing - a sign of a truly great work of art - but for me it's a masterpiece on every level. In terms of the films of Yorgos Lanthimos, it is likely his most accessible to date, but it is still not for the feint of heart. There is a lot of raunchiness here, and that will likely discourage some viewers. But for those that are willing to step outside their comfort zone and try something new, to say The Favourite is for you is something of an understatement.
The Critique: The best film of 2018 so far, The Favourite is a raunchy, unapologetic, and tense drama featuring masterful performances from its entire ensemble.
The Recommendation: If you're ok with weird and risqué, then this is absolutely for you. If not.....your loss.
The Verdict: 10/10 Perfect.
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