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Stream It Or Skip It: ‘One Life’ on Paramount+, in which Anthony Hopkins brings his A-game to an otherwise ordinary historical drama

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Stream It Or Skip It: ‘One Life’ on Paramount+, in which Anthony Hopkins brings his A-game to an otherwise ordinary historical drama

One Life (now streaming on Paramount+) is proof that the presence of Sir Anthony Hopkins always and without fail elevates a movie. (OK, maybe not that one Transformers movie, but at least his scenes were memorably unintentionally hilarious.) This film is more stereotypical of what we’d expect from the veteran Oscar winner, who plays the older version of real-life British gent Nicholas Winton, whose efforts to extract hundreds of Jewish children from Nazi-occupied Czechoslovakia made him an unsung hero of World War II. Johnny Flynn (Stardust) plays the younger version of Winton as the film jumps between the late 1930s and 1987 – but as you’d expect, Hopkins is the one who truly carries the movie.

ONE LIFE: STREAM IT OR SKIP IT?

The Gist: Nicholas (Hopkins) has too much stuff. Boxes and boxes of it, piled up here and there, in the den, in the garage. He’s 80-ish, and he takes it slow around their nice, spacious house, but he still drives and still dives into the pool in their lovely back garden. His wife Grete (Lena Olin) insists it’s time to get rid of some of that stuff – but they’ll find a special place for that one attache he keeps in the drawer, she promises. It’s the kind of attache that’s ripe to trigger a flashback: Young Nicholas (Flynn) visiting Prague in 1938. He visits a refugee camp where children clamor for the bit of chocolate in his pocket. A sweet girl, in spite of the harsh conditions and the dirt on her face and hands, smiles wide and shows the gap where her two front teeth are about to grow in. A 12-year-old girl looks considerably more haunted, holding a baby that isn’t her sibling or cousin but one that belongs to people who are just, well, no longer there. 

The Nazis have already pushed these people from their homes, and are on the brink of invading Prague. Something must be done about this, Nicholas insists. He can’t just return to London and resume his job as a stockbroker. He wires his boss and says he’ll be back whenever, and gets to work, recruiting humanitarians Doreen Warriner (Romola Garai) and Trevor Chadwick (Alex Sharp) to come up with a plan to extract the children to the U.K. Nicholas goes home and gets his mother (Helena Bonham Carter) to help him drum up money, visas and foster families. He pleads with British bureaucrats to be, well, less damn bureaucratic, and they put the kids’ paperwork to the top of the pile. 

Letters are written. Photos are taken. Money is raised. Promissories are penned. Typewriters go tickity-tack. Phones ring. Children say heartbreaking goodbyes to their parents as they board trains to safety. Meanwhile, in 1987, Nicholas contemplates. That is to say, he stares longingly into the distance, in between cleaning jaunts (he piles up boxes of old paperwork and burns them in the yard). He opens the attache and pulls out a scrapbook full of photos and documentation. There’s no pride or nostalgia on his face. Just – blankness? An unwillingness to open old wounds, perhaps? He takes the attache to a newspaper, and the doltish editor sends him away. This is Nicholas’ legacy. And he doesn’t know what to do with it.

One Life
Photo: Paramount+

What Movies Will It Remind You Of?: There’s some very clear parallels to Schindler’s List here.

Performance Worth Watching: Without Hopkins’ haunted nonverbal performance, One Life would be incredibly ordinary.

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Memorable Dialogue: Nicholas states it plainly at the refugee camp: “I have seen this, and I cannot unsee it. And because I may be able to do something about it, I must at least try.”

Sex and Skin: None.

Our Take: One Life is a character study cloaked in the trappings of a historical drama – and thank the cinema gods it sidesteps most of the trappings of the staid biopic. The finely shot, relatively bare-bones 1930s sequences lay the groundwork for Hopkins to silently and existentially ruminate in 1987, where Nicholas very pragmatically clean-sweeps the clutter from his life and ends up finding a bit of emotional clarity in that precious briefcase. Director James Hawes shows an eye for the usual period detail, but more crucially, executes the narrative with a sense of urgency, maintaining tension as the Nazi invasion looms and using montages effectively to convey significant amounts of visual information while Lucia Zucchetti edits crisply, sharply and with clear intent. This is not at all the talky foot-dragger of a drama you may expect it to be.

Hopkins’ scenes are where the film finds its true agency, a complexity beyond the easy and simple assertions of his character’s selflessness. It’s obvious that Nicholas deserves recognition, but he may not feel quite the same. And so the actor, furrowing his brow, stirs all manner of intangibles into the screen version of Nicholas: The specter of aging, feelings of unworthiness, long-faded memories vividly returning. On top of all that, and more visibly spelled out by the screenplay, is nagging regret: Did I do enough? That notion leads to an inevitable tearjerker conclusion, one that feels less egregious after Hopkins put in all that work. This is precisely why he’s a master of the craft.

Our Call: STREAM IT. Hopkins’ thoughtful artistry, coupled with Hawes’ technical proficiency, renders One Life a thoughtful and memorable drama.

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John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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Movie Reviews

Movie review: Borderlands? A borderline disaster

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Movie review: Borderlands? A borderline disaster

Borderlands isn’t just the worst movie of the year – it’s one of the worst blockbusters ever made

How is it possible that Borderlands, a new action blockbuster based off one of the best-selling video games of all time, will continue its legacy as of one of cinema’s greatest disappointments?

That reality is the saddest part watching the new Borderlands movie, now stupefying and nauseating audiences everywhere. What should be a fun, sci-fi summer romp is instead a total misfire from nearly every department.

For those unfamiliar, the Borderlands games feature a set of ragtag outlaws across dystopian planets across space, often searching for treasure and space-like creatures. This film version loosely follows the main plot of the first game, first released back in 2009.

That premise though, of a rescue mission gone wrong on a dangerous, desert planet, is here obliterated in an awful screenplay that feels like a half-hearted rip-off of Mad Max and Guardians of the Galaxy (another big summer hit that, strangely, first premiered almost ten years ago to the day.)

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Borderlands’ script is atrocious, filled with unspecific nonsense at best and cruelty and crudeness at worst. The plot is derivative and simple. The technical design is unfinished and grotesque, with no clear theme or purpose. The editing and direction is confusing, and most of the cast looks bored and anxious on screen.

Even worse is the film’s sense of humour, seemingly insulting the PG-audience of teenage boys by stuffing every scene with as much unfunny toilet humour is possible. The jokes are consistently crass and gross – sometimes downright revolting – and each is worse than the one before it.

Some of the more tasteful zingers, for example, include quips like, “You’re a bunch of poopy mouth faces who can eat your own butts!”, or, “I didn’t know electrocution caused defecation!”, complete with the matching visuals.

As if this wasn’t bad enough, somehow the film’s $110 million budget didn’t include enough to finish rendering or animating the film’s special effects, which often have the composure and detail of a half-finished high school project. I haven’t seen effects this sloppy since 2019’s Cats…which famously went on to win Worst Picture that year.

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Having an unpolished final product in the modern movie landscape is unacceptable when it’s a large studio project like here at Lionsgate, especially when the competition (like Universal and Warner Bros.) have cutting edge effects in every major film with ease. An unfinished or rushed movie is just lazy. The effects are so poorly rendered the 15-year old original Playstation 3 video game looks better than this.

Yet the worst sin is how all of the characters in the cast are endlessly nasty and unlikable, with almost no redeeming character traits. These are bitter, cynical characters with no counter balance that makes the audience want to root for them.

Not only is this a betrayal of their more gripping, gritty personalities in the source material, but it gives talented actors in the cast nothing meaningful to work with, leaving them to flounder with shallow, clunky dialogue and comedy dripping with corporate synergy.

I almost feel bad for the genuinely talented performers like Cate Blanchett, Kevin Hart and Jamie Lee Curtis whose skills as storytellers and comedians are being wasted, especially with designs and relationships that are being misdirected as a clear knock-off to better science fiction movies of the last decade.

Blanchett, for what it’s worth, is still fully committed to the character however unpleasant she is. Her performance, along with a few others (like a great Janina Gavankar as Commander Knox) are truly the sole enjoyable elements of this mess.

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Video games movies have a (perhaps unfair) reputation in the last 40 years of having disingenuous Hollywood adaptations often misunderstanding the tones that made the franchises and characters popular in the first place. It’s possible to get the adaptation right – look at the recent success of The Last of Us on television.

But not Borderlands. Director Eli Roth has completely misunderstood what makes summer blockbusters entertaining or why the games were such a big hit in the first place. His tone is so off-putting that the whole film feels boring and hollow.

I’ve been reviewing movies for more than a decade, and I genuinely can’t remember the last time I disliked the experience of watching a movie this much. For anyone going out to the cinema for a good time, that’s a borderline disgrace.

1 out of 10

Rated PG, 1hr 42mins. Sci-Fi Action Adventure.

Co-written and directed by Eli Roth.

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Starring Cate Blanchett, Ariana Greenblatt, Kevin Hart, Jamie Lee Curtis, Florian Munteanu, Jack Black and Edgar Ramírez.

Now playing at https://www.cineplex.com/theatre/silvercity-burlington-cinemas.

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Movie Reviews

'Barzakh' Movie Review: Theatrical limboland worth a visit

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'Barzakh' Movie Review: Theatrical limboland worth a visit

Asim Abbasi’s ‘Barzakh’ is an ode to love, loss, and everything in between. It is haunting, yet mesmerising, and equally puzzling.

The six-episode series follows a dysfunctional family’s ‘spiritual’ journey as they vacillate between grief and hope. However, the journey is hampered by its own excesses and as the show progresses, it becomes arduous to appreciate Abbasi’s vision. Much like his characters, Abbasi leaves viewers in a state of limbo.

Barzakh’s story is set in the Land of Nowhere, a breathtaking valley, where Jafar Khanzada (Salman Shahid), a wealthy patriarch, invites his estranged sons — Shehryar (Fawad Khan) and Saifullah (Fawad M Khan) — to partake in his third wedding. The catch? Jafar has set out to marry his first love Mahtab, who is long dead. While his sons call him out on the absurdity of the situation, it is his caregiver Scheherezade (Sanam Saeed) who shows faith in him. She urges everyone, including the viewers, to have faith in the unknown.

Worth a special mention are the performances of Sanam and Salman — both eloquent and enthralling. The two possess the power to skilfully guide a nonbeliever towards the tumultuous world of faith.

‘Barzakh’, which loosely translates to being in a state of limbo between death and resurrection, evokes the feeling of being stuck in a purgatory. Almost every character in the show is a sinner of varying degrees, and yet incapable of self-reflection. The self-reflection only begins at the Land of Nowhere. The story, characters, cinematography, and every aspect of the show draw heavily from works of literary phenomena — from Gabriel García Márquez to Khalil Gibran. And of course, you’ll find some Shakespeare sprinkled along the way.

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The show does a good job of portraying several difficult topics such as toxic masculinity, repressed sexuality, postpartum depression, the burden of parenting and caregiving and the fragile nature of familial bonds. This, put together with the phenomenal acting by the entire cast, would have produced a splendid series, if only Abbasi had stopped and asked himself: How much is too much?

What also holds the series back from reaching its potential are the excessive supernatural elements — the trapped souls with stones on their backs, the red-draped fairies, the all-knowing painter, the girl with serpent skin… the list goes on. Plus, a plethora of metaphors and symbolism. Despite having a strong cast and an engaging plot and narrative, ‘Barzakh’ only hurles riddles at the audience. While this is exciting in the beginning, it gets tiresome as the show progresses.

However, none of this takes away from the fact that ‘Barzakh’ remains one of the most interesting shows to come out of Pakistan in recent times. It explores topics that the country has often stayed away from and brings us a mythical world where there remain no boundaries between love and life. Abbasi’s ambition only leaves one waiting for his next project.

Cut-off box – Barzakh
Hindi (Zee5 Youtube)
Director: Asim Abbasi
Cast: Fawad Khan Sanam Saeed Salman Shahid Khushhal Khan
Rating: 3.5/5

Published 10 August 2024, 03:48 IST

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Movie Reviews

Movie Review – It Ends with Us

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Movie Review – It Ends with Us

It Ends With Us was phenomenal. Blake Lively gave this character her all, you felt every little emotion she felt, her chemistry made the screen spark. I love her, I don’t think she’s ever done anything under exceptional. This role was no different, she owned it.

I did not know anything about it when I found out that I was doing this movie. I also did not know that it was a book. Coincidentally, before me and my granddaughter went to go see it, we did some shopping at the mall first. (where my theater is) We had walked past a bookstore and Savannah spotted the book. We were both surprised, who knew? We joked around about it and went to go see the movie. As the movie ended, my granddaughter looked at me and begged to go get the book, so we did and she’s happily reading it now. We also discovered that there is a follow-up book and will be going to pick that up this weekend. (thanks Rebecca)

——Content continues below——


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The story was so heartfelt and powerful. I hope the movie does well at the box office, I was a bit surprised when I walked into my theater, it was packed. Since I moved to Tennessee, I have yet to see more than ten people at the early show. I live in a small town, but the ladies were out yesterday. At the end of the movie it received massive applause. It tickles me when that happens.

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I’m sure if you’ve read the book you plan on seeing it, I just want to let everyone else know, this is a must see movie. I’ll be reading the book this weekend and I’ll report back on how I felt they did then.

Grade: A

About The Peetimes: I’ve got 2 Peetimes in for you, I recommend the 2nd Peetime, but if you have an emergency the 1st Peetime is there for you too.

There are no extra scenes during, or after, the end credits of It Ends with Us.

Rated: (N/A) Some Strong Language | Sexual Content | Domestic Violence
Genres: Drama, Romance
Starring: Blake Lively, Justin Baldoni, Jenny Slate
Director: Justin Baldoni
Writer(s): Christy Hall, Colleen Hoover
Language: N/A
Country: United States

Plot
Adapted from the Colleen Hoover novel, Lily overcomes a traumatic childhood to embark on a new life. A chance meeting with a neurosurgeon sparks a connection but Lily begins to see sides of him that remind her of her parents’ rela…

Don’t miss your favorite movie moments because you have to pee or need a snack. Use the RunPee app (Androidor iPhone) when you go to the movies. We have Peetimes for all wide release films every week, including Borderlands, Deadpool & Wolverine, Twisters, Fly Me To The Moon,  Inside Out 2 and coming soon Alien: Romulus, The Crow, Beetlejuice Beetlejuice, Transformers One, The Wild Robot  and many others. We have literally thousands of Peetimes—from classic movies through today’s blockbusters. You can also keep up with movie news and reviews on our blog, or by following us on Twitter @RunPee.
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