Great Expectations (2012)

It seems like every year we get a new film based on the classic take by Charles Dickens, Great Expectations. There are so many versions, it is pointless to make another one. Apparently people disagreed though as we have another update, this time starring Helena Bonham Carter and Ralph Fiennes. I adored the 1998 version even though it was critically panned. I cannot say the same about this movie. The performances were excellent and it has a majestic scope, but the narrative is just a little uneven for my taste.

By now, we should all know the plot to the film. But in case this was someone's first big-screen adventure into the story, Mike Newell's film is about a boy named Pip who is given a chance at a gentleman's life in London thanks to a mysterious benefactor.

As said before, the film does have excellent performances namely by our two British veterans in Carter and Fiennes. Carter makes an excellent Miss Havisham and she is delightfully weird, just like in most Tim Burton movies. Fiennes also gives all he got as the convict Pip meets in the beginning. Jeremy Irvine, known for his role in War Horse, does a solid job and same goes for Holliday Granger as Estella, Pip's romantic interest. I also thought Jason Flemying was excellent as Joe, and the scenes between Joe and Pip were quite powerful.

Overall, the latest Great Expectations remake tries it very best to succeed thanks to the lavish production design and it excellent performances, but it fails to live up to previous films. It is certainly not bad, but it doesn't bring anything new to the table. That being said, it still is good to watch. They do a good job in recreating nineteenth century London and the countryside. It shows how different life was compared to today. Not a bad film, but not a great one either. Perhaps no more adaptations in the near future, studios. I rate this film 7/10.

Fmovies: This looks like another vanity vehicle for Ralph Fiennes--he's done Hamlet, he's done Harry Potter, he's done Eugene Onegin--let's do MAGWICH.

Since when is gentle Joe Garger ready to go fisticuffs with the man who wants to give Pip a better life? This guy looks like Keith Urban and acts like a thug. And why did they have to paint Pip's sister with such an evil child-abusing brush? And then there's Fiennes' Magwich, who is a scowling slimy fusterer with neither menace nor warmth. He stoops, he shuffles, he fumbles, but he's not convincing. The other characters are completely forgettable nonentities. Mike Newell's direction plunges his characters into almost total darkness, and as such there's nothing for the eye to watch, and very little worth listening to in the script.

There's entirely too much brawling and violence--and of course we HAVE to have the money shot in Miss Havisham's burnt-black face--in this movie that provides nothing but a nasty distraction to the story. And, of course, there is another tacked-on happy ending. I thought the movie would at least be as honest as Estella was with Pip.

Save your time and watch David Lean's most excellent version. Even with its tacked-on happy ending, it's just a better movie to watch, and Ralph Fiennes can't come within a mile of Finlay Currie, a genuinely frightening visage whose human heart is eventually revealed in a scene that still moves me to tears.

It's a star turn for Fiennes, whom I would think had better judgment.

Thematically speaking, Mike Newell's GREAT EXPECTATIONS depicts a world in which money talks: where rich n'er-do-wells such as Bentley Drummle (Ben Lloyd-Hughes) manage to find the girls of their choice, while fundamentally good people such as Pip (Toby/ Jeremy Irvine) end up unlucky. To survive in this world, Pip has to shed his humanity; this is especially evident in his offhand treatment of Joe Gargery (Jason Flemyng), when the blacksmith comes to visit him in London. Likewise Estella (Helena Barlow/ Holliday Granger) is brought up in a world where any display of emotion or human feeling is considered weak; hence she believes it is her destiny to marry Bentley, even though the couple are not in love with one another. The quintessential representative of this rapacious world is Jaggers (Robbie Coltrane), who believes that everything - including human beings - are to be bought and sold for money. Hence Joe Gargery should be happy to accept twenty-five guineas in exchange for Pip. Unless you've got money, you'll not have any Great Expectations. Newell's film is also very good at depicting the relationships between Pip, Estella and Miss Havisham (Helena Bonham Carter) - although somewhat young for the role, Bonham Carter comes across as a fundamentally vindictive person, who enjoys playing with Estella and Pip's feelings in revenge for her own frustrations at being jilted on her wedding-day several years previously. As with most BBC- inspired costume dramas, the sense of place is beautifully evoked, even though Jim Clay's production designs; nineteenth-century London is a teeming, threatening world in which self-interest prevails. This is contrasted with the rural Kent coast where Joe and his sister (Sally Hawkins), a lonely world of sprawling landscapes and russet sunsets. Perhaps the only criticism that might be leveled at this adaptation is the fact that David Nicholls' screenplay runs out of steam somewhat: the plot-details are rather hurriedly wrapped up in the last half-hour at the expense of characterization and atmosphere. This is a shame, as it deflects out attention from the developing relationship between Pip and Abel Magwitch (Ralph Fiennes), which proves beyond doubt that compassion is far more significant than money to ensure human survival.

Great Expectations fmovies. Director Mike Newell (Four Weddings and a Funeral, Donnie Brasco, Harry Potter, Love n the Time of Cholera, Mona Lisa Smile, Enchanted April, etc) joins with creative screenwriter David Nicholls (When Did You Last See Your Father?, One Day, Starter for 10, Tess of the D'Urbervilles) and a cast and crew of enormous talent and delivers what in this viewer's opinion is the finest version of GREAT EXPECTATIONS on film. Few explorations of this complicated, dense novel by Charles Dickens manage to make every character wholly credible – no absolute villains or absolute heroes here, just a range of behavior throughout the spectrum that makes every character beautifully defined, making the intricate story wholly comprehensible.

The story is soften told that the plot is well known – though never as fully realized as in this beautifully photographed (John Mathieson) and scored (Richard Hartley) version. Pip as a lad (Toby Irvine, Jeremy Irvine's younger brother) is terrified by an encounter with escaped convict Magwitch (Ralph Fiennes) and befriends him – a significant moment in the story. The young orphan Pip is kept by blacksmith Joe Gargery (Jason Flemyng) and his horrid wife (Sally Hawkins) until he is engaged by the strange Miss Havisham (Helena Bonham Carter) in her strangely creepy house to play with her 'daughter' Estella (Helena Barlow). In rather rapid sequence the adult Pip (now Jeremy Irvine) inherits a fortune from an anonymous benefactor, his future seems promising. Estella (now Holliday Grainger) seems bent on a different life than one with the obviously infatuated Pip. Pip is off to London, becomes a wealthy gentleman, still pines for Estella, is supervised by Jaggers (Robbie Coltrane) until a series of secrets surface and the story proceeds to its complex conclusion.

The vast cast is populated with some of England's finest actors and they all give sterling performances. The costumes and locations and settings are splendid. And for once the complex Dickens' story makes complete sense. Highly recommended.

Far from a terrible film but rather disappointing too, seeing as this did have a lot going for it. Plus the trailer actually looked really good. There are certainly some good things, even when a film or series doesn't quite work there are not many times where there is nothing redeeming about it. This Great Expectations does have a fair few merits and the best of these merits actually come off quite well. The costumes and sets are both beautiful and evocative, and the reuniting of Pip and Estella has some very clever lighting, there is great atmosphere and poetry in this moment. The music is haunting, is fitting for the tone of the film and doesn't overbear things too much. The opening scene is very atmospherically effective also, though the adaptation that did this scene best and quite possibly without equal is David Lean's.

And while the acting is inconsistent, there are some very good performances, and actually most of the performances fall into the very good category. The star was Ralph Fiennes, his Magwitch was both creepy and tragic, in the earlier scenes Fiennes is chilling but later on he is very likable and you feel pity for the character. Helena Bonham Carter really gives her all to Miss Havisham, wonderfully bitter and dramatic, if physically a little too on the voluptuous side for a character that is described the complete opposite in the book. Jason Flemying is an excellent and dignified Joe, Robbie Coltrane is firm and somewhat larger than life as Jaggers and Olly Alexander's Herbert Pocket is eccentric and quaint as well as earnest and upbeat, a very engaging performance of a potentially dull character.

Jeremy Irvine looks the part for Pip but his acting style came across as too overwrought and too innocent, while Holly Grainger looks radiant but not cold enough for Estella. They are marginally better than the miscast leads in the respectable but flawed 2011 BBC adaptation, but only just. David Walliams mugs his way through the role of Uncle Pumblechook and painfully so, it may work for Little Britain but it is completely wrong here. Toby Irvine and Helena Barlow are very competent and work well together, if lacking that extra spark to make them truly memorable, Barlow also could have a little more spiteful.

Aside from these problematic casting choices there are other reasons why this adaptation of Great Expectations fell short. It is a very difficult story to adapt, Dickens generally is difficult to adapt, but the story is not very engaging here, though there are some bright spots like the opening scene. The pacing can get tedious while some of the details are rushed through and under-explained, the Pip, Estella and Miss Havisham scenes veer towards the absurd rather than the tense and the scenes between Irvine and Holliday don't have that much pulse. The ending is also very badly bungled.

The script can get rather trite and wordy with some awkward tonal shifts. And while the period detail is great and there are moments where the lighting is clever, the way the film looks is rather too grim, too much of the Harry Potter and Tim-Burton-at-his-most-Gothic vibe. Mike Newell does deserve some credit for bringing out the story's dark approach but too often it is too emphasised so the film generally lacks life, and consequently the dark obsession that is at the heart of this great story comes across as rather flat. Overall, a long way from bad but not as great as it could have been, personally this was a mixed feelings sort of reaction towards the film. 5/10 Bethany

This adaptation of Great Expectations did enchant me at some points. There was a definite highlight in the relationship between Magwitch (played by Fiennes)and Pip (Irvine). The issue, however, comes with a certain lack of focus in the film: it could have centered on the gripping dynamic of those two, but instead wandered between hopeless Estella-loving Pip and confused gentleman-aspiring Pip, not choosing to dwell on the excellent depictions of rough father figure Magwitch and reluctant son Pip. The best moments involved them - from the disbelief when Pip realizes who Magwitch is to the suspense and melancholy of their later scenes.

In short, the acting was spot-on, but the story wavered. Director Newell walked a very fine line between kitschy and touching in depictions of Havisham, Estella and Pip's relationship. With Estella and Pip's main confrontation, for example, I found myself drawn in and absorbed by their emotions - but the over-the-top display of melodrama, with Estella over-symbolically torn between Havisham and Pip, quickly cut through the tension and made it veer toward the more absurd. Bonham Carter as Havisham was a good choice, but it seemed almost too obvious: she plays the part as if straight from Tim Burton's CORPSE BRIDE, a film she herself has compared her character to.

It was worth it to watch the excellent acting by Irvine and Fiennes. There were laughs and tension but it was all quite formulaic; and the meandering film focus, finally leading to a spotlight on Estella/Pip but without a satisfying kick in the end, did not add up to a particularly memorable film. 6/10.