The Children Act (2017)

When BBC produces a film, you certainly would expect it to be something others would be unwilling to pay for. And that it is.

For me, it's enthralling in today's filmmaking that it is ridiculously slow-paced. Director Eyre has no qualms with lingering, making the best of his excellent cast. Regularly, he will use several seconds more than usual to show someone walk down a hall, think, remove their shoes or other seemingly insignificant actions. If you pay attention though, they are nowhere near that. Today, when films are mostly exhausting to watch, due to the extreme pace, BBC's money has certainly allowed Eyre to be brave, making something that forces the audience to show patience and attention.

The cast is delectable. Emma Thompson excels as the workaholic, that has lost touch with her surroundings as she delves ever deeper into her work. Stanley Tucci is a very underrated actor, and is perfect as the husband that tries so hard to get his marriage and wife back. Eyre never falls for the temptation of making him a stereotype, cheating bastard, and Tucci delivers a marvellous character, with his own shortcomings, but a highly understandable attitude towards his estranged marriage. This is by far the best element of the film.

Unfortunately it all takes a somewhat strange backseat as Thompson meets a patient over which she has to give ruling (The very good Ben Chaplin). Their first scene together is brilliant, but after a while, their relationship fails to really find its way or relevance, leaving you wondering what Eyre is trying to show or learns us.

The story is also brave in the sense that if you've watched many movies earlier, you think you know what the next logical step is. But Eyre is not interested in any of that. Leaving some viewers feeling cheated, whereas the rest of us like that not every film has to take the same direction when dealing with the same issue.

So all in all, it has a fantastic slow pace that allows you a different experience from mainstream these days. And Jason Watkins provides the most British comical relief in decades. Many hats off to him.

It doesn't quite seem to find it's theme though. After an enthralling start, it takes a left turn, and doesn't really find it's way back.

7/10