Olivia Colman gives a typically stunning performance in Sam Mendes’ new movie 'Empire of Light,' but the film is too clunky and riddled with clichés to be affecting. Read beastobsessed's review:
continues to reap visual wonders. From an early nighttime rooftop rendezvous irradiated by fireworks and a glowing vertical neon sign, to a late shot of a projectionist switching off the lights in his headshot-decorated booth, the film is another splendid showcase for the duo’s aesthetic gifts.
—they’re so ravishing that they imbue the material with a sense of grief, resentment, and yearning for solace and companionship in a world that offers little to its characters.Hilary Small , a spinster who, in 1980, works in the beachside Empire theater, serving as “duty manager” and manning the concession counter as patrons come to see.
Hilary’s bleak existence is transformed by a bolt of lightning that arrives in the form of Stephen , a Black high school graduate who, having failed to get into college to study architecture, takes a job at the Empire. One glance at Stephen’s exposed midriff is enough to stir Hilary’s long-dormant spirit .
Yet even if those two predicaments were analogous—which is up for healthy debate—the film’s equivalence is too threadbare, and handled too gently, to be persuasive. Ward and Colman share a believable, easygoing chemistry, but their protagonists’ deeper connection as kindred persecuted outsiders never quite resonates except as a device intended to let the material touch upon issues of race, class and age.
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