Now Is Good - Jeder Moment zählt

Likely too many potential viewers will see this exquisite little film as just another Bucket List movie, but nothing could be further from the truth. Adapted by Director/Screenwriter Ol Parker form Jenny Downham's novel 'Before I Die', the film deals with delicate issues in a mature way and allows the emotional aspect of the film's theme to soar into that realm of films that deal with death in an honest and respectful way.

Tessa Scott (Dakota Fanning in a miraculous performance with a perfect British accent!) is diagnosed with leukemia. Despite her four-year devotion to chemotherapy she has discovered that her cancer is terminal and her doctors don't give her very long to live. Tessa with the help of her best friend Zoey (Kaya Scodelario) comes up with a list of things she wants to do before she dies, including some risky behaviors that she deems necessary to have "lived". Tessa's dad (Paddy Considine) is resistant to Tessa's behavior from the start but realizes he has little influence and can only enjoy the time they have left. Best friend Zoey is excited and supportive of the outrageous bucket list until an unplanned pregnancy test comes up positive. Tessa's parents are divorced and have very different views on her desire to experience the dangerous side of life before she passes. Her mother (Olivia Williams) simply cannot deal with the diagnosis and copes by distancing herself from Tessa's activities and is more or less absentee in her role as a mother. Her father's main mechanism for coping is denial. Tessa mentions that he spends hours on the computer looking up possible treatments for her even after the doctors have told her that the cancer has consumed her body. Tessa's little brother Cal (Edgar Canham) is a brutally honest individual that has mixed feelings ranging from lack of care to jealousy to sadness. In the beginning of the novel Cal says to his sister "I'm gonna miss you" during a joking situation. One of Tessa's last wishes is to find love, of which she thinks she has with her neighbor Adam (Jeremy Irvine whose performance here is as fine as his War Horse role). Adam is shy and his main priority is taking care of his sickly mother after their father died. But Tessa's gradually breaks through Adam's fears and the two fall in love, Adam promising to stay with Tessa until the end. The film follows her last few months of life, explores her relationships with her loved ones, and her personal feelings about being trapped in a failing body. The film is tenderly brought to a credible and touching close - everyone has grown to appreciate that 'now is good'.

Dakota Fanning rises to new heights in her sensitive portrayal and her skills are matched by inimitable performances by Paddy Considine, Olivia Williams, Jeremy Irvine, Kaya Scodelario and a superb supporting cast. This is a very beautiful film that begs to be seen and understood. Never sanguine, it is just an honest piece of life - and death.

Grady Harp

"Our life is a series of moments… let them go…"

I don't need to go into my decreasing expectation of Dakota Fanning movies as I tend to do it with each of her movies since around 2007… needless to say, I likely wouldn't have been rushing to see this one – which from the outside appears as yet another not-even-Oscar-baiting cancer pity porn story (if you'll excuse the extreme shorthand) with the added "oh no…" factor of Fanning doing her best English accent to boot*. But I got free tickets, and who was I to pass up my first chance to see one of my (despite everything, still) favourite actresses on the big screen for the first time since 2005?

The by-the-numbers story here has Fanning as Tessa, who is dying of leukaemia, has passed the point of expecting treatment to help, and wants to get a few things done before she goes. This in itself, of course, does not an enriching 90 minutes make (not for me, anyway). But while there's certainly a few bad clichés of this kind of story in here (and one particularly awful moment – I shall just say "sweetcorn"…), the reason Now Is Good continued to pull me in is because of this light of a character at its core.

As I said I was worried I'd be adding this movie to a long list of recent Dakota Fanning movies (okay, mainly the Twilight movies) that lead me to ask, frustrated, "what are you doing, Dakota?" – but you can see why she was drawn to this one, despite any of its leanings toward cliché. Tessa responds to the generic way the world usually deals with terminal illness in the same way I always imagine I would (yes – I'll it admit it – I imagine it enough to be able to say such a thing, lol, now who's pitying?), and I connected to her fast – the way her face lights up the moment she spots a hint of mischief in a person, such as when her brother asks at the breakfast table (much to their father's dismay), "when Tessa dies can we go on holiday?" or how she talks back to her doctor ("Good girl." "Would you like to slap my rump? …then stop talking to me like a horse…") She really doesn't want any pity, for herself or anyone (as she says to her love towards the end, "Don't you dare expect me to feel sorry for you because you get left behind, don't you f-ing dare!") but she certainly doesn't deny the creeping darkness of her imminent death either.

There's a ropey segment in which Tessa and her friend go on an attempted crime spree in a shopping centre that smacks awfully of a teen movie cliché I thought long-since past, and the aforementioned unbelievable attempt to cut through one of the movie's most horrific glimpses of disease with the comedy of "sweetcorn" – but even these lows are ultimately countered by terrific performance, not just from Fanning but from the support cast including Paddy Considine and Olivia Williams (both of whom, post-sweetcorn scene, share the best non-Fanning scene in the movie, as she asks him, "Can I stay?"). There are lesser clichés that also ring less hokey for the same reasons, such as Fanning enjoying an air tunnel type ride (her face in this scene is too beautiful to even consider being cynical), a stolen kiss under fireworks, and the horses that ride past at the end – but by that point I was so in love with Tessa they could have played in "This Woman's Work" or "Fields of Gold" over such imagery and still not offended me… it really is her most unforgettable role since Man on Fire for me.

* the accent work is fantastic, if you must know – I really didn't want to mention it in my review though, because everybody will… it's the flawless, clipped, but not necessarily authentic to the character, kind most American actresses manage …but like those minor clichés, by around midway it's the last thing on your mind.

** PS. There's some interesting use of Nine Lives footage (at least I think it's that movie), of a younger Fanning climbing a tree, that I just found interesting and felt worth mentioning – it was slightly jarring to me but I imagine even fewer people saw that movie than will see this one lol. At least it connects to something in this movie, anyway, another beautiful scene of tree climbing. ** EDIT I asked the director about this and he said they shot all of the stuff at the end themselves so I guess I was wrong, it just looked very familiar to me :)

There is no doubt she is one of our finest young actresses, but Dakota succeeds in a very important area of film acting.....the camera eats her up. Her haunting eyes draw you in, and her characters are the better for it. She has grown into a beauty, and one hopes the often fatal hubris of Hollywood will pass her by. The fact that she and her co-star were in Spielberg movies is testament to their talent and validity. I wish them both great fortune and longevity in that sorry business. Yes, this plot has been done to death, but there is a realism in the details of dying that make this a great film. My only critique is not really a critique, but the mother's character, as played by the fine Olivia Williams, is very disconcerting.....a disturbing portrait of a very flawed person. I may buy the DVD, nonetheless.....highly recommended.

First of all, don't worry, I won't spoil anything about this film because I'm too lazy to summarise the plot since it has been already summarised by many other reviewers.

I have read the book and watched this film twice, and here is my final review on this film: - very well abridged and modified. - very well acted by all actors, especially by Dakota Fanning. I am not British but I am quite familiar with some British accents by watching many British TV series and listening to British youtubers. And as far as I can say, Dakota's British accent seems to be quite flawless. Of course, if you're British, you are welcome to disagree with me.

The only minus point: I am still wondering if Olivia's blonde wig was necessary. Or maybe she should have dyed her hair to make it look more natural. But even if those two actors (Olivia and Dakota) had kept their natural hair colours, the film would still have worked because the script was perfectly written.

American Dakota Fanning leads the cast in this British production about a teen terminally ill from leukemia who wants to crowd all she can in the months or maybe weeks she has remaining. Prominent on the list is that she wants to lose her virginity.

Bring some industrial strength Kleenex to the theater because you'll need it. Fanning gives a sincere and somewhat restrained performance considering the circumstances. Her parents Paddy Considine and Olivia Williams also do well.

If I was going to have a first and last love I couldn't do much better than young James Irvine who scored very big Steven Spielberg's The War Horse. He's the perfect handsome and sensitive youth that anyone would fall for. His role is a supporting one, yet you'll remember him as much as you do Fanning.

Although her British accent could have used some improvement and I suspect that she was cast so that the film could draw some dollars in the American market, Fanning is just fine in the role. You'll not soon forget her in Now Is Good.