Directed By Simon Curtis

Starring – Michelle Dockery, Joanne Froggatt, Paul Giamatti

The Plot – When Mary (Dockery) finds herself in a public scandal and the family faces financial trouble, the household grapples with the threat of social disgrace. The Crawley’s must embrace change with the next generation leading Downton Abbey into the future.

Rated PG for suggestive material, smoking and some thematic elements.

DOWNTON ABBEY: THE GRAND FINALE – Official Trailer [HD] – Only in Theaters September 12

POSITIVES

For longtime enthusiasts of the Downton Abbey universe, the end is near, but fear not, as “The Grand Finale” not only represents the bittersweet end of an era for this colorful group of characters, but also a highly entertaining spectacle once more into the sights and sounds of this distinguished setting, cementing what has been a dazzlingly decorated trilogy of transition from television to the silver screen. For starters, Simon Curtis returns once more to helm the immensity of this iconic property, and between some spellbinding scenery in the breathtaking intoxication of the scenery in and around Abbey, which deserve to be seen on the biggest screen imaginable, as well as impeccable detail in everything from the set design to the wardrobe, the film attains unmitigated immersion in every single one of its stunning shots, making the investment into the 30’s era of Europe feel ripe with the kind of artistic authenticity that fans can coherently interpret and lose themselves within, all underlined brilliantly once more by John Lunn’s orchestral score emanating a rich regality and enchanting elegance to the engagement. While Lunn opts for the classic familiarity of the setlist, it never fails to inspire goosebumps with how his themes clash with these awe-inspiring sweeping establishing shots of the iconic mansion, unlocking all of our memories and ghosts encompassed within such a family heirloom, which to this point has felt like a character of its own within this universe. On top of this, the film does serve as a sequel to 2022’s “A New Era”, but never in ways that overbearingly rely on its predecessor to sell the dramatic depth of this third installment, instead summoning some unforeseen conflicts in the realities of this family, particularly Lady Mary, which sets up a platitude of situational stakes that kept me faithfully invested throughout a two hour runtime. What helps is certainly the abundance of characters for Curtis to continuously keep tabs on, allowing him to bounce feverishly from one to the other with very little lag time between them, but even more vital is how the first act establishes an uncertain fate for so many of these characters that forces them to confront the necessary truths that some of them have sustained realizing for so long, in turn materializing a bittersweet goodbye that legitimately feels like the triumphant final chapter in this franchise. Despite the aforementioned dramatic stakes and mounting pressures, the tonal impulses of Curtis’ direction opts for more of the subtle off-beat British humor that fans of the original TV series have appreciated about it, helping to keep the atmosphere airy and charming for the audience, even in the face of so much unforeseen adversity for characters who frequently overcome with family-first idealism. On the subject of some of those characters, the performances are once again quite dashing and full of radiant charisma, particularly in the suave and sophisticated essence of Michelle Dockery, Hugh Bonneville, and newcomer Alessandro Nivola, who each command attention with so much punctual personality in their respective exploits. As on-screen father and daughter, Dockery and Bonneville effortlessly exude all of the love and adoration that come with the inevitable heir to the throne, but singularly they are just as integral to the movie’s foundation, with Dockery’s humility and expanding stoicism after a life-altering event balancing Bonneville’s hesitation to adaptability, exceptionally, allowing each of them to become these characters with unblemished commitment to the believability towards seeing them as the fictional characters that each have commanded. While the return of most of our favorites is a primary ingredient to the movie’s recipe, some fresh-faced additions also spice it up, such as Nivola’s Gus Sambrook, featuring a devilishly disarming smile and sizzling sensuality to go along with a litany of unforeseen secrets, and Paul Giamatti, whose return as Harold Levinson reminds us of every crazy uncle we’ve ever had, with Giamatti’s frantic rambling and sincerity giving so many of these interactions a rich balance of heart and humor that compels us into so many of his defining demons, even at the cost of the family’s prestigious wealth.

NEGATIVES

While much about “The Grand Finale” maintains that quality of product that have made the previous two films such a stylistic escape, many of the same problems persist constantly throughout this entertaining trilogy, beginning with exposition-heavy dialogue that carries the responsibility of continuously educating an audience through many years of storytelling and a litany of characters. This might be great for someone like me, who isn’t as familiar with the histories of these characters, but for hardcore enthusiasts, it will be a chore to sift through, especially considering conversations will halt unnaturally, in order for a character to articulate the significance of the subject matter, and while it’s mostly relegated to the opening act, during scenes that feel like the refresher typically seen at the beginning of 80’s slasher movies, it still gets the film off to a bit of a stalling start that has it feeling every square mile of its two hour runtime. This leads to my second issue of the film being its inconsistencies in pacing, especially with a structure of script that is inescapably repetitious, but even episodic in the way so many of these scenes are sequenced alongside each other. Part of the intention with a show becoming a movie is to not make it feel like two episodes are being shoe-horned together, but it’s glaringly evident just where you would put the cuts within this outline, with much of the momentum riding its highest climactic altitudes during the midway point and ending of the film, and while I was never truly bored by the film, I did find the patience of my investment thoroughly tested in a second act that could easily lose around 30% of its excessive fat, in turn appraising more much-needed urgency to a third act featuring a barrage of inevitable confrontations. Finally, this third installment, like its predecessors, is blessed to feature roughly 90% of its central characters, even with the immense shadow of Dame Maggie Smith passing on since the last film, but like most sequels that bring along everyone in the ensemble, this one also struggles in finding something meaningful for most of them to add to the occasion, leaving a majority of them standing around during scenes that center within established constructs. In previous films, this pertained especially to those involved in the kitchen staff, but this time around, it’s them and even some of the members of the family who aren’t given the most meaningful send-offs to the long distance of their respective journey’s, and it left the script feeling tied with tedium, in order to materialize such artificial opportunities to what they’re given, which is especially disappointing when it concerns some of my favorite characters of the franchise.

OVERALL
“Downton Abbey: The Grand Finale” is an elegantly articulated and affectionately charming closing chapter for the Crawley family and their surrounding staff, evoking a bittersweetly charming engagement that helps overcome some of its narrative shortcomings. Despite the pacing feeling every second of this unnecessary two hour runtime, and the initial dialogue mailed in heavy-handedly with obviousness, the film is saved by stellar performances from a charismatic ensemble, as well as time transporting production values that sweep you away to an uncertain time in Britain’s future, in turn evoking a bittersweetly charming goodbye to fifteen years inside of its hallowed halls and tastefully tantalizing dishes

My Grade: 7.5 or B-