Olivia Colman, Micheal Ward shine in Sam Mendes' 'Empire of Light'

It makes sense that after making “1917,” an ambitious Oscar-winning war thriller, that director Sam Mendes would slow down with a quaint follow-up like “Empire of Light.”  There’s definitely a lot to like about it ‒ score, photography, performances ‒ but the script is a letdown, as Mendes struggles to connect a collage of themes dealing with racism, mental health, romance and the magic of movies.

Set in 1981 on the south coast of Kent, the majority of the story unfolds in and around the Empire, an art-deco movie theater, not unlike the cinemas of Mendes’ youth. What initially appears to be a valentine to the ability of movies to sooth and unite evolves into an unconventional romance between two theater employees:  Hilary (Olivia Colman, “The Favourite”) and a much younger Stephen (Micheal Ward, “Lovers Rock”). Both are lonely souls whose desire for human connection trumps their differences in age and color. Their easy chemistry goes a long way.

Stephen is a huge step up for Hilary, who has had her fill with an unsatisfying fling with her sexist boss (Colin Firth). She is also “nutters,” popping lithium to numb the effects of her mundane existence. Most days, she’s counting candy, sorting snacks and taking tickets. It’s Christmas Eve 1980, and the current movies on the marquee are “The Blues Brothers” and “All That Jazz.” But you’d never catch Hilary sneaking a peek at either one − much to the dismay of the persnickety projectionist, played by the great character actor Toby Jones.

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Stephen catches Hilary’s eye the minute he reports for his first day of work. They progress from friends to lovers rapidly, visiting a carnival and the beach, and nursing a wounded pigeon back to health. Stephen is oblivious to Hilary’s unraveling mental state, largely because he has his own troubles. As the son of Jamaican immigrants, he’s the target of hate by roaming bands of skinheads. Hanging with Hilary is his escape ‒ until it isn’t.

You can feel the care and detail Mendes instills, drawing on the memories of his youth. Like “The Fabelmans,” the emotion is clearly in evidence, but there’s too much going on, a handful of disjointed puzzle pieces that never quite fit. Maybe the messiness is intentional.

Wisely, Mendes compensates by surrounding himself with the best in the business, beginning with cinematographer Roger Deakins  (a shoo-in for his 16th Oscar nomination). They prove a powerful combination, with Mendes summoning outstanding performances, and Deakins, who won an Oscar for his work on “1917,”  hauntingly capturing the beauty and despair of a British seaside. Through his lens, the lush environs appear as a painting come to life. A New Year’s Eve fireworks display, watched by Colman and Ward on the rooftop of the theater, is pops of golden bursts against the night sky, all set to the dreamy score composed by perennial Oscar nominees Trent Reznor and Atticus Ross.

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What sticks, though, is Colman, an actress not afraid to get lipstick on her teeth. Even better is Ward, a young actor with the gravitas and presence to go toe-to-toe with the Oscar-winning star. The entire film builds and builds to a bittersweet catharsis for their characters that you can see coming. It’s mawkish and predictable, but in all the best ways, especially for lovers of cinema. Movies bring light to the darkness of life. That’s the big takeaway. And often, it’s magical.

'Empire of Light'

Rating: R for sexual content, language and brief violence

Writer and director: Sam Mendes

Cast: Olivia Colman, Micheal Ward, Tom Brooke, Tanya Moodie, Hannah Onslow, Crystal Clarke, with Toby Jones and Colin Firth

Running time: 114 minutes

Grade: B

This article originally appeared on The Patriot Ledger: Olivia Colman, Micheal Ward shine in Sam Mendes' 'Empire of Light'