Downton Abbey: A New Era (2022)

Score: 4.5 / 5

It's as if we never left the fastidiously groomed estate. Downton Abbey had its throngs of adoring fans as a serial show, and these films meant to continue the soapy saga keep bringing them out in droves; in the sold-out evening screening I attended, I was the youngest audience member by at least two decades. I'm grateful for these films, because they feel more self-contained than most of the show's seasons, almost like extended single episodes. The delicious drama imagined by Julian Fellowes continues its upstairs/downstairs conflicts while we can enjoy and imagine such an aristocratic life a hundred years ago across the pond. But this movie is a bit different than the previous film, which itself triumphantly pushed the envelope farther than I thought the show would or could, so let's put our best foot forward here and step right in.

A New Era, indeed. This installment's two main plotlines are as follows: most of the Crawley family goes on a vacation to the south of France, where Granny Violet has suddenly come into possession of a seaside villa; most of the servants remain at the abbey, where a motion picture crew takes up residence to make an early "talkie" film. That's it. Typical of Fellowes, it's brilliant and self-contained and reliant on the tense policing of propriety in dialogue to work, which of course it does. I thought it was a bit annoying at first, as butler and teacher Molesley (Kevin Doyle) gives us some introductory narration, much like a "previously on Downton Abbey" catch-up reel, but then, it has been a while since we've seen these characters.

Thankfully, Granny Violet, the Dowager Countess, is back again after her poignant potential send-off in the previous film, and here she is herself, in fact, the inciting incident. She receives notice that an old acquaintance (very old, as they last saw each other some sixty or seventy years prior) has willed her the deed to his seaside French villa, and she in turn is willing it to her only great-grandchild without property, young Sybbie (daughter of former chauffer and current estate manager Tom Branson and the late Lady Sybil Crawley). The family is atwitter with curiosity about this unexpected gift. What exactly was the nature of their Granny's relationship with the recently deceased marquis? Why has she never spoken of it? Naturally, most of them venture south to learn more, and the film spares no expense in its lavish attention to beauty when they eventually reach the villa. Her son Robert (Hugh Bonneville), the Earl of Grantham, is especially anxious, as he begins to suspect that he may have been the product of his mother's potential tryst with the marquis.

While enjoying the warm weather and sunshine -- all except their tightly-laced butler Carson (Jim Carter -- the family must field skepticism and doubt from the marquis's family, including his widow and son. Robert's wife Cora (Elizabeth McGovern) seems to be battling with her health, and with the ailing Granny back at home, Robert begins to spiral out, fearing losing the two most important women in his life along with his good name (or, rather, his surname, if his fears about Granny's past prove to be founded). It doesn't help that the French family already suspect the same, but things don't really get settled there emotionally. Just legally, as Tom (Allen Leech) and his new wife Lucy (Tuppence Middleton) gratefully accept ownership of the villa on behalf of their daughter.

When they return, they see what their servants have been up to under the watchful eye of Lady Mary Crawley/Talbot (Michelle Dockery). Working as the head of the estate now, Mary has welcomed a film crew in for the month, excited to open the house to the world again and to earn enough money from them that she might finally repair the leaking roof. Unlike the aloof family, the servants are thrilled at the prospect of meeting stars and seeing the magic behind the scenes; Molesley reveals his passions for the art form, and even manages to help the film by rewriting its screenplay. The gracious director (Hugh Dancy) intended to make a silent film, but as talking pictures are the new rage in London, he quickly enlists Mary to help him get a sound technician and flip the film. He also develops feelings for Mary, whose husband is always away. This particular subplot feels especially, cloyingly soapy, but it's Hugh Dancy so that's fine with me.

The film is going along rather bumpily, apart from its director's attempts at romance, due to its stars as well. Its dashing leading man Guy (Dominic West) is more than a little anxious about being in his first talkie, but he finds some solace in befriending butler Thomas Barrow (Robert James-Collier), whose hopeful love life (from the previous film) is suddenly dashed. I love that this film embraces his queerness and gives him, finally, a very happy ending. The talkie's leading lady Myrna (Laura Haddock), however, is a stuck-up high society bitch whose voice is, well, not suited for audio recordings. Think Singin' in the Rain and "I can't stand him." She's a hot mess when Lady Mary is asked to step in and dub her dialogue, but there is a remarkable scene in which the cook Mrs. Patmore (Lesley Nicol) and kitchen maid Daisy (Sophie McShera) sit her down and have a come-to-Jesus moment regarding her Cockney accent. It's the first and only time in the entire franchise I've actually liked Daisy, and she's actually being a good person finally!

A New Era is gorgeously shot and rapturously jubilant. Even when things get a little dark, scary, or sad in this franchise (okay, when things get sad, they get tragic), there is always a lovely light shining through reminding us that this is, ultimately, a love story between all kinds of people and with the place they call home. Director Simon Curtis (My Week with Marilyn, Goodbye Christopher Robin, Woman in Gold), accredited cinematographer Andrew Dunn, and their collaborators do really amazing work in this relatively short film to catch us up, absorb us into the new intrigues, and tie everything up in a beautiful and heart-wrenching bow. If this is the last we see of these beloved characters, they've made sure that it's a nearly perfect sendoff. And that's a monumental achievement.

Late Night (2019)

Score: 4 / 5

Often when we label something as a feel-good movie, we mean that it doesn't really matter in terms of art but manages to be calmly entertaining. Late Night is a true feel-good movie though, one that retains its artistic integrity while wearing its warm heart of gold on its sleeve. Its infectious good sense of purpose and humor works well with its surprisingly subversive social commentary, making the film critically important but in a pleasant sort of way. If every comedy were this earnest, I'd watch a lot more.

Emma Thompson stars as Katherine Newbury, the late night talk show queen. Right off the bat, the movie takes a swing at the male-dominated primetime lineup with her presence, and it just gets richer from here. Her show, we learn, is suffering in ratings and the network is planning to replace her. Desperate for help, she allows the hire of one Molly Patel (Mindy Kaling) who has almost no experience but is a rare Indian-American woman in a career of almost exclusively white men. Though her jokes themselves don't always work, her presence and perspective changes the environment and revamps the show.

It's not terribly complex as a narrative, nor is it terribly insightful. Instead, it streamlines itself and simplifies its story in an effort to -- I think successfully -- advocate for much-needed change of personnel in certain workplaces. Especially entertainment. While this movie seems to be coming on the decline of intense scrutiny on the ethnic and gender makeup of the AMPAS and other major entertainment clubs, it certainly showcases the incredible power of affirmative action in very real ways. In one particularly awesome scene, Molly tries to shame Katherine for employing her as a "diversity hire"; Katherine immediately confirms this. Of course she is a diversity hire. And now it's her time to shine in a realm she would otherwise have no access to.

And shine she does in several scenes with lazy, irritable, and egotistical white men she now can call coworkers. There's the head monologue writer who is a "legacy hire", the pretty but sleazy guy, the jealous and probably closeted gay guy, the overweight joke machine guy, and their disillusioned but wise and wisecracking boss Denis O'Hare. Their banter back and forth is a lot of fun, but nowhere near the wit and charm of the two leading ladies together. Thompson's dragon lady isn't as intense as Meryl Streep's Devil Wears Prada big bad, but she is firmly grounded and showcases her range in a series of detailed, poignant scenes that challenge our expectations of her brand.

Kaling is an unsung hero here, in a relatively thankless role meant to catalyze the story. But she brings a delightful wide-eyes naivety to the proceedings that works well with her character. Molly, a quality control specialist in a chemical plant, has no idea what she's getting into in the backstabbing world of late night entertainment. She brings cupcakes to work on her first day and recites Yeats poems as her mantra. Unlike other movies of its ilk, Late Night does not allow its lead character to be crushed before she is rebuilt; she maintains a course of growth and even some disillusionment, but she does not bow to the bullies around her and does not suffer unduly while in her out-of-place position. And thanks to screenwriter Kaling herself for that, who does not see a villain in this story. Instead, she empowers even the bullies (who are not really bullies, but rather products of a history of limited perspective) to become better people along with her protagonist. We could all use some of this infectious positivity.