"Sometimes people need stories more than food to stay alive." - Barry Lopez

The vintage Empire cinema is one of those rare places where people experience something magical to light up their lives in the cynical, broken world. Hilary, who opens the theater doors in the morning, does not care for such nonsense. To her, with a troubled past and anger issues, it is just a job and routine. Hilary goes about her business, does sexual favors for the boss in his office, and eats dinner alone at home. Things change when a young black man, Stephen, is hired at the Empire. Hilary takes Stephen under her wing and shows him interesting things about the theater and its employees. When they encounter a hurt bird, Stephen impresses Hillary with his kindness in helping the bird to fly again. Hilary and Stephen open their hearts to each other. However, it isn't long before Hilary's darker issues surface once more.

No one is going to give you the life you want, you must go out and get it.

This tender, inspiring, and compassionate film takes us to Britain in the 1980s. Star actors include Olivia Colman, Michael Ward, and Colin Firth, and the cinematographer Roger Deakins. Director Sam Mendes, Colman, and Deakins were present at this Canadian premiere at the Toronto International Film Festival. It was a personal film for Mendes whose mother had "mental trouble." Deakins added that one of the good qualities of Mendes is that he likes to make films about real people. One of the main themes of the film is that each person has pain that they deal with. Ask about people, check on them, and don't turn your back on anyone.

You're trapped inside a world of make believe, where people take their seats to be deceived, lose themselves in fantasy, reels conjure alchemy, this is no paradise or palace, that you perceive. Behind closed doors, torment and distress are at play, where advantages are taken day by day, but you plough your lonely furrow, cage the rage, the pain, the sorrow, then someone new arrives, projects a fresh pathway.

I spent two hours spellbound at the incredible Olivia Coleman, who takes you into the unstable world of Hilary in early 1980s Britain. More than ably supported by Michael Ward, the pair paint a picture of the challenges of the day, from different backgrounds and perspectives, that rollercoast your emotions to extremes. Great story, great direction and great performances - what more do you need from a film?

Empire of Light grapples with a lot of different themes and issues but struggles to do them all justice resulting in a mixed bag that at least offers an emotionally investing love letter to the power of cinema that remembers to show the problems of the time.

Olivia Colman gives a great lead performance that plays to her strengths with plenty of incredibly dramatic moments. Micheal Ward is really good with a calmness and earnestness that makes the romance more believable. Toby Jones is excellent in his small part, with a wholesome nature that hides a real sadness.

Despite a muddled screenplay as first time solo screenwriter, Sam Mendes' direction is still technically impressive with Roger Deakin's gorgeous cinematography enhanced by a typically evocative score by Trent Reznor and Atticus Ross.