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'My Cop' review: Harry Styles and Emma Collin bring minimal heat to mild-mannered gay melodrama

Just when my police center attacked by an illegal gay union, I burst out laughing The hottest peak of sound. Harry Styles as Tom Burgess, the The British Bronze Man for whom the film is named secretly spends a few days of romantic idyll in Venice with his secret lover, suave museum director Patrick Hazelwood, by Played by David Dawson as if he just stepped out to revisit Bride’s Head . Draped on a hotel bed in what appears to be post-coital bliss, Patrick dreamily gazes at the sculptural curves of Tom’s hips as he stands naked by the window smoking a cigarette. At that moment, the chorus singing Vivaldi’s “Gloria” cheered en masse.

Glad to think it was the idea of ​​some music executive, ahem, a cheeky joke to sing a hymn to the most shapely tramp on the planet man who wants. But since there are few other signs of sly humor in this utterly tasteful affair, probably not. Still, it’s going to play well on Amazon, and it starts on November 4th, following October 21 theatrical performance.

My Police

Bottom Line Wish I was obsessed with Harry.

Place: Toronto Film Festival (Special Introduction)1235208514Release Date: Friday, October (November 4, Amazon Prime) THROW: Harry Styles, 1235208514Emma Corrin, Gina McKee, Linus Roache, David Dawson, Rupert Everett
Director : 1235208514Michael Grandage Screenwriter : Ron Nyswaner, based on a novel by Bethan Roberts Rated R, 1 hour 53 minute

Queer style on Twitter gets attention r A few weeks ago he went straight to the mainstream The men in the movie are too aggressive about men’s sexuality, and my cops are here to show us some tenderness. Let’s face it, the pop star-turned-actor is the main reason anyone would be interested in this bland adaptation of Bethan Roberts 2012 novel, hardly shows that famed theatre director Michael Grandage could translate his stage skills to the screen.

So how about sex? Writer Ron Nyswaner limited the love between the characters of Tom Hanks and Antonio Banderas to pure love in Jonathan Demme Philadelphia. Or maybe the studio decided on this caution. Nyswaner and Grandage here have lads naked and sweaty rolling around in a golden mist – many arched backs, hungry hands and eyes expanding in ecstatic transport – which should at least make Fans of Styles are in high spirits, albeit at the same time pretty classy. But the tedious storytelling and awkward transitions between the two time periods of the plot dim the afterglow.

Roberts’ book was inspired by the early century novelist EM Forster and working-class London cop Bob Buckingham, although Buckingham was happily married, it went on for four years as a nurse for May Hockey. When Foster suffered a stroke later in life, Hockey took care of him, accepting that the famous writer and her husband were lovers.

In this version, young Tom meets teacher Marion (Emma Corrin) at Brighton Beach, even though friends tell him, “He likes the loud, busty type. ” (which should be a giveaway), and they begin a courteous courtship. Tom wants to improve himself, so he asks Marion to recommend some art books, something that maybe only someone in the movie did early on.

Marion takes him to the Brighton Museum, where esthetician Patrick opens his eyes to see Turner’s paintings precariously of romance. Soon the trio were inseparable, and Patrick appointed himself a cultural guide and took them to the opera house to absorb some Verdi. Marion seems vaguely uncomfortable being effectively a tagalong on these outings, but she’s too polite and says anything in English.

Although there is zero evidence of passion between them, it is not for lack of attempts to play Marion’s role that Tom proposes to her. But at the same time, he started posing for Patrick’s sketch, preferably in uniform. A glass of scotch sparks tentative caresses, and soon the two hook up as best they can, despite Tom’s occasional shame and self-loathing. He was “fascinated, troubled, and confused,” as a basic needle-drop told us. Another helpful statement is, “Memory is made of this.”

Nyswaner puts this period in context – partially legalizing homosexuality in England Ten years before the transformation – there was a back alley liaison behind an underground gay club that caused panic when the police arrived. Patrick has revealed his partner of five years was beaten to death by thugs. But if Tom’s conflict as a law enforcement officer, his colleagues slapping himself on the back every time he catches another “sexual pervert,” Stiles lacks the skill to express it as an actor.

Colin is better, subtly revealing Marion’s disturbed. She was even more annoyed when she found them hugging in the conservatory, and Patrick later managed to make Tom his “assistant” on a museum business trip in Venice. “It’s unnatural,” Marion spats at a school colleague (Maddie Rice), who immediately reveals she’s a lesbian and predicts Tom won’t change.

The movie jumps back and forth between from the beginning, no Too much grace The heyday of this awkward triangle and their difficult reunion 1950 Years later. The main redeeming factor here is that Gina McKee is always great as old Marion, her innately warm and calm, down-to-earth qualities allow for a more personal perspective on the character.

At first, when Marion moves Patrick (Rupert Everett) — frail after a stroke and other cruelty in his life — to the She appeared to be a candidate for Saints while at the Peasehaven couple’s home and in charge of his care, not far from Brighton. She does so against the wishes of Tom (Linus Roach), who has lost the light in his youthful eyes. He took their dogs for endless walks along the cliffs by the sea, even refusing to step into the rooms of frail guests.

Rough details of the intervening years, dramatic events that destroy three friends through the convenient discovery of a pile of diaries, and reveal the motives of Marion’s selfless redemption – for these Stuff is always in this cultured soap. McKee’s Marion tries not to read it at first, but we know it won’t last.

The script’s depiction of the difference between the anti-gay persecution period and one of those periods raises awareness and acceptance more seriously than influences. That’s because Grandage – didn’t show more talent than he showed in the dull first movie, Genius — gives very little advantage to the material. Nyswaner’s script never digs deep into his character’s psyche. , it’s a respectful drama that’s watchable enough but can’t build much emotional charge around the exploration of the mysterious threads of love and friendship.

Same applies to acting except for McKee. Everett accomplishes the balancing act of dominance and humiliation he has practiced with reasonable composure, but Roach is barely present until the final scene hastily ends, his intense emotions being as fatally restrained as everything else.

Corrin’s are good, though not close to capturing what makes them so engaging in The Crown. Dawson is more convincing than the broken-hearted man inside. As for Stiles, he’s not terrible, but he leaves a hole in the film where a multidimensional character with an inner life is most needed. Between this and 1235208514 Don’t worry, dear, he has yet to prove himself a real actor.



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