The Life of Chuck review – unmoving Stephen King schmaltz

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Tom Hiddleston plays a man who might be the centre of the universe in a film of often effective parts that never really come together As prestigious as it might sound to win the Palme d’Or at Cannes or the Golden Lion at Venice, the surest indicator of Oscar recognition has become victory at the far less fancy, far more mainstream Toronto film festival. There isn’t a jury-based award, instead there’s one decided by an audience vote and, far more often than not, their picks have lined up with those of the Academy. Since 2008, only one People’s Choice award winner hasn’t then gone on to either take home or be nominated for the best picture Oscar, and while the picks haven’t always been the greatest (hello, Jojo Rabbit, Belfast and Three Billboards), they’ve indicated a broad, crowd-rousing appeal. Last year, despite predictions that Anora or Conclave might triumph, out of nowhere the far less buzzy, and, at that point, distribution-less Stephen King adaptation The Life of Chuck triu...
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Chuck Chuck Baby review – whimsy and realism combine in big-hearted romance

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Louise Brealey is put-upon Helen, a chicken factory worker who gets a second chance at love, in Pugh’s generous and gritty film

Here’s a rousing empowerment-anthem of a movie that’s not afraid to paint its romance plotline in big, bold brushstrokes; occasionally it overdoes things but the rush of emotion carries everything along in its path, helped by the deployment of radio-friendly standards by Neil Diamond and the like that turns the film into an impromptu musical and allows writer-director Janis Pugh to stage (relatively) elaborate dance sequences and big emotional scenes.

The central figure is put-upon chicken-processing factory worker Helen (played by Louise Brealey) who has a complicated domestic situation: she lives in the same crummy terrace as her oafish husband Gary, from whom she is separated but seemingly not actually divorced, and shares the place with his new, much younger, girlfriend Amy (Emily Fairn) and their newly arrived baby. Also on the premises is Gary’s terminally ill mother Gwen (Sorcha Cusack), for whom Helen acts a carer but is the quasi-maternal figure that Helen appears to long for. There’s also a rowdy Greek chorus of Helen’s fellow factory workers who are perhaps designed as a counterpoint to Helen’s introverted, clenched unhappiness, at least at first.

Chuck Chuck Baby screened at the Edinburgh film festival

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