Viver

From the opening footage of 1950s London to the closing credits this is a simply exquisite film. Bill Nighy is perfect in the lead role of the senior civil servant who is forced to confront his own mortality and Amy Lou Wood and Alex Sharp provide fine support at the other end of the age spectrum. There are some lovely scenes all played with understated panache and whilst the storyline is undoubtedly a little sad the film leaves the viewer appreciative of what's really important in life. It also achieves this in an understated, non preachy and gentle tone. There's also a fine soundtrack throughout and a lovely final scene to round it all off.

You've lived a life within the bounds of expectation, conformed to all the codes, rules, regulations, mastered the art of the transaction, never looking for reaction, played the game to par, avoiding altercations; but the hand you've just been dealt has caused confusion, as you realise you're living an illusion, blindly going through the motions, without feelings for devotions, now it's time to make a stand, faced with conclusions.

A wonderful performance from Bill Nighy that might get you thinking about your own mortality and whether your direction of travel is taking you where you want to go. A remake of Ikiru, it also reminded me of Bergman's Wild Strawberries.

I had no preconceptions or expectations when I went to see this film. I left the cinema feeling deeply moved, alongside a range of emotions including sadness and joy, amidst a sense that I had just been immersed in one of the best cinematic works of art in a very long time. In the jaded world of today's cinema where nothing is really new anymore, and movies peddle the Incredible, with disappointing over the top drama, this film's simplicity was its outstanding and defining feature. Accompanied by a haunting soundtrack, it tells the very human story of a man (Nighy) who has six months left to live and how he chooses to make his mark and get satisfaction from celebrating the ordinary and achieving a modest but much loved and celebrated goal. The performances were outstanding in their subtlety (who knew Nighy had such a beautiful singing voice), and the direction by Hermanus was perfect - designed to tell a simple story and get the best from the actors without being obtrusive or distracting. The setting in 1950s London, portraying a world of grey bureaucracy mirrors today's corporate, health, and social care world's perfectly, with the final message to embrace and accept that which "doesn't quite fit" sending a humorous yet pointed message to us all.

Definitely bring the tissues - but celebrate it too as one of the best films in years.

Now I am not usually a particular fan of Bill Nighy but in this he is very much at the top of his game. An adaptation of Kurosawa's "Ikuru" (1952), the setting is shifted to London where Nighy is the fastidious "Mr. Williams". A local civil servant heading up the public works department of the London County Council. His small team has some new blood in the form of "Mr. Wakeling" (Alex Sharp) whose baptism in the department is to accompany three ladies (and the audience) on a revelative journey through the pillar-to-post red tape that "Williams" himself facilitates - all guaranteeing that very little actually ever gets done! Leaving early one day, we discover that this erstwhile precise and predictable individual is seriously ill. Unable and/or unwilling to divulge this information to his son, he absconds to the seaside where he encounters "Sutherland" (Tom Burke) who gives him a relaxing tour of the local hotspots before he return to London and happens upon one of his team "Miss Harris" (Aimee Lou Wood). A posh luncheon ensues and the elderly gent and his young colleague start to bond. This bond soon has - unbeknown either of them - tongues wagging, but when she gets a new job he finds himself drawn to her. Drawn to her joie de vivre and general enthusiasm for a life he knows he will not have for too much longer. That becomes contagious as he decides to apply himself, and his team, to achieving at least one more thing in a professional capacity! It is a gently paced and evocative story that deals with that sense of re-prioritisation faced by anyone when faced with a profound change in circumstances. Nighy has a delightfully understated manner to his performance here, Wood is also effective as his increasingly valuable confidente and Oliver Hermanus manages to retain much of the charm and gently potent impetus of the original Ishiguro story. It is beautifully scored by Emilie Levienaise-Farrouch who incorporates original and powerful themes with established classical ones. The costumes and overall aesthetic of the film complements well the classy and impressive performances that resonated in quite a thought-provoking, and multi-layered fashion as I watched it. I was engaged by this from start to finish and I really quite enjoyed it.

A little slow paced for my taste, but I can't deny that Bill Nighy displayed a masterclass in subtle acting. Also I found it quite interesting that he took the role after sharing a taxi ride with the screenwriter Kazuo Ishiguro who pitched him right in the spot. That's pretty confident of Nighy to accept the role after such an encounter, but yeah, what a great decision on his part. Other standouts on the performance end of things include Aimee Lou Wood and Alex Sharp. They have a bright future ahead of them and I can't wait to see what they choose next. Also shout out to the musical score which helped bolster the emotions and kept me awake.