Hope Springs - fine acting but a tedious script

No matter what part she’s playing, Meryl Streep is one of the most watchable actresses around. From monstrous magazine editor Miranda Priestly in The Devil Wears Prada to Mrs Thatcher in The Iron Lady, she’s always charismatic and convincing.

And it’s the same in Hope Springs, her latest movie. Here she stars as suburban wife and mother Kay, who is devoted to her grumpy husband Arnold but realises that after years of marriage their relationship needs spicing up.

So when she hears about a couples’ counsellor based in the pretty seaside town of Great Hope Springs she persuades Arnold to sign up for a week of marriage therapy with her. The pair book into a cheap motel and turn up for daily sessions with Dr Bernie Feld (played absolutely deadpan by Steve Carell).

Streep and Tommy Lee Jones, who plays Arnold, act their socks off in this movie but I can’t for the life of me work out who on earth the audience will be. Young movie-goers will squirm with embarrassment as the couple discuss their sex life (or lack of it) while older viewers will find Kay and Arnold’s attempts to re-ignite the spark in their relationship too uncomfortable by half.

Directed by David Frankel of The Devil Wears Prada fame, the film has a few laugh-out-loud moments. Streep is genuinely touching as the unhappy Kay and Lee Jones is gloriously taciturn as Arnold, but the script is lumbering and the counselling scenes seem endless. And the soppy last scene definitely should have been cut.

When I attended the UK Cinema Showcase last week, Heat film editor Charles Gant declared that you can sum a movie up in two words. A film, he said, is either ‘”really bad” or “really good.” Ignoring his advice, I’m going to sum up Hope Springs in 14 words. If you like Meryl Streep, go. If you don’t like Meryl Streep, don’t bother.

How to be a film critic

Sunday mornings tend to follow the same pattern. A trip to buy croissants and The Sunday Times, then strong coffee and the omnibus edition of The Archers.

But last weekend I broke out of my rut and did something completely different. By 9.15am on Sunday I was sitting in a darkened cinema in London’s Haymarket – full of excitement at the prospect of seeing some of this autumn’s hottest new movies. I’ll be reviewing films like the eagerly anticipated Anna Karenina when they open in the UK but first up was a Q&A session with a host of well-known film critics and publicists.

The workshop, organised as part of the UK Cinema Showcase, was packed with bloggers covering all film genres – from sci-fi and horror to rom coms and thrillers.

We were all keen to hear the critics talk about how they tackle their reviews. Charles Gant, film editor of Heat magazine, stressed the importance of staying true to yourself. “What you can’t do is write against your gut,” he said. “If you do, it’s a road to disaster. The important thing is that you retain the trust of your readers and that you write what you truly believe. Once you try to second guess the readers you are lost as a critic.”

He added that sticking to your word count is crucial. “One of the great skills of being a critic is the art of concision. I see myself as a reviewer rather than a critic. People read my reviews to know whether to see the film or not. And after all, most people who aren’t film critics give their verdict in two words – ‘really bad’ or ‘really good.’”

Meanwhile Press Association film critic Damon Smith, whose reviews are read by eight to ten million people across the country, explained that two-thirds of the content of his reviews is commentary, while a third focuses on the plot. He concentrates on the screenplay, direction and acting and reckons that mediocre films are the hardest to review, while writing about bad movies can be fun – “because the bile pours from you.”

The conversation also covered the thorny question of awarding stars to films. In Damon Smith’s view the general advice to filmgoers is “three stars out of five – go and see it. Two stars – stay away.” David Hughes, film critic of Empire magazine, nodded. “And five stars means it’s unmissable,” he said firmly.

The critics agreed that it’s vital to stick to your guns and not be influenced by anyone else. They don’t talk to other critics after screenings and don’t read other reviews before they’ve filed their own. “Just sit and write in the dark,” instructed Charles Gant. So that's what we did.