Film
Karen Krizanovich
In a Q&A at the London Screenwriters' Festival last year, Welsh writer/director Caradog James and producer John Giwa-Amu already had fans. If that Q&A is any indication, the team at Red & Black Films have a brilliant career ahead of them, all thanks to The Machine, a dark science fiction tale of artificial intelligence and human scheming that is finally released this week. Described by some as a 90 minute sci-fi Pygmalion, or a hybrid of Blade Runner and Frankenstein, The Machine is stylish and fantastic in the original sense of the word – slick enough to be impressive but not too Read more ...
Ron Peck
It was very odd, in January this year, to see that Super-8 camera of Derek’s in a glass case and a few open notebooks in his beautiful italic handwriting in some other glass cases in the same room. There were five or six small-scale projections from his films in other rooms, including The Last of England, and some art works, but, somehow, Derek wasn’t there at all for me.The location where all these things were turned into what felt like sacred relics was the Inigo Rooms at Somerset House and the exhibition was Derek Jarman: Pandemonium. Pandemonium didn’t sound so out of place in relation to Read more ...
emma.simmonds
As she proved in her exquisite debut Love Like Poison, French director Katell Quillévéré has an astonishing knack for delicately told stories which, in their sensitivity to character and credibility, pack a weighty emotional punch. And so it goes in her follow-up Suzanne, an aesthetically sunny story of unconditional familial love and the grand, gut-wrenching folly that comes from being romantically entangled with a dubious character.It's a tale that's likely to be quickly taken into your affections, for it’s one that delights in childhood. We first meet Suzanne Merevsky as a little girl ( Read more ...
Nick Hasted
Terry Gilliam’s career currently resembles Orson Welles’ declining years, and not just in both men’s seemingly impossible quests to finish a film of Don Quixote. Gilliam too is trying to work outside a Hollywood system that has tired of his maverick talent, finding himself in far-flung European corners with motley casts of famous friends and fans, doing him favours in the hope his old lightning will strike.The bad sort of stormy weather has, though, buffeted Gilliam since his greatly underestimated Fear and Loathing in Las Vegas, 16 years ago. The Brothers Grimm, Tideland, The Man Who Killed Read more ...
Jasper Rees
The BFI this month posted a list of 10 great lesbian films. Recently released titles included wereThe Kids Are Alright, Tomboy and Break My Fall, but there was no place for Blue is the Warmest Colour. Time will tell whether Abdellatif Kechiche’s Palme d’Or winner will still be celebrated in a couple of decades, but for now it feels like a Trojan horse for same-sex cinema.Yes there’s more lashings of fleshy, slap-up sex than in anything not by Lars Von Trier. But there is also something radically new for a portrait of young lovers flouting social orthodoxies: the film is blessedly light on Read more ...
Tom Birchenough
Ten-year-old Ahlo is the energetic, cheeky, joyous centre of Kim Mordaunt’s drama The Rocket (Sitthiphon Disamoe as Ahlo, main picture), which follows him through a series of challenges towards a triumphant and redeeming final act. That may sound like a familiar narrative arc, but it’s told with new freshness and considerable humour in the film, which is billed as the first ever to come out of Laos.Made in the Lao language, it’s set in the remote and strikingly beautiful landscapes of the small, cut-off South East Asian nation. The peasant life that we see there may be poor, but continues Read more ...
Adam Sweeting
The history of computer games being turned into movies has not been a happy one (Max Payne, Battleship, Lara Croft), but the blockbusting Need for Speed car-racing franchise fares rather better. This movie version is of course simplistically plotted and completely ludicrous for almost every one of its 130 minutes. But the action is frantic and non-stop, the stunts are performed by stuntmen rather than computer software, and the cars are freakin' awesome.What's more, you have Aaron Paul in the lead role of Tobey Marshall, a poor boy from the nondescript blue collar town of Mt Kisco, New York Read more ...
Nick Hasted
There are more bizarre, horrific and unnervingly beautiful moments in Jonathan Glazer’s much delayed third film than in the rest of his star Scarlett Johansson’s career. The strap-line - Scarlett as an alien fatally seducing Scottish men - suggests bonkers B-movie elements which Under the Skin has its share of. But by abandoning the hoary s.f. back-story of the Michel Faber novel this adapts, Glazer has made a film which teeters on the edge of pretentious absurdity, and to its detractors falls in headlong; which is broken-backed, losing its way for crucial periods; but which is also memorably Read more ...
Nick Hasted
Destin Daniel Cretton’s SXSW-award-winning debut is optimistically feel-good, bathed in Californian sunshine and night-time neon. This helps the sometimes bitter medicine of the damaged lives at its foster home setting slip down without a murmur. Cretton used to work at a “short term 12” home (where the state puts children for up to a year) and sympathises with everyone here.Self-help platitudes are never far away in a place where everyone’s in therapy and on medication, but neither are rougher barbs to hook you. Grace (Brie Larson) and Mason (John Gallagher Jr) lead a laid-back staff, Read more ...
emma.simmonds
300: Rise of an Empire is the follow-up to perhaps the most homoerotic film of all time, 300 - a film whose obsession with the well-lubricated muscularity of the male form was matched only by its unabashed exaltation of ultra-violence (rendered endlessly and often tediously in slow-mo). It was hardly high art or sound history, but it had aesthetic bravado and a certain logic, with the strangely sexy battles effectively evoking the Spartan idea of a glorious death. 300 was less swords and sandals, more pants and posturing and its sequel delivers (too) much of the same.The original's director Read more ...
Nick Hasted
Nick Cave called this ferocious, blackly comic Outback nightmare “the best and most terrifying film about Australia in existence”. Lost and almost forgotten since its 1971 nomination for Cannes’ Palme D’Or, as a film of innately Australian fear and loathing it compares well with Wolf Creek. But this tale of a smug English teacher having his civilised skin torn off him in strips during an endless week in a purgatorial mining town is less of a pure “Oz-ploitation” film than that. Though unhinged and buffeted by savage psychological currents, it's also precisely calibrated by Canadian director Read more ...
Tom Birchenough
“Only connect!” might be the unexpected motto for this Hollywood Hills story – hard to call it a drama – from writer-director Sean Baker (Prince of Broadway). Because the worlds coming into contact in Starlet could hardly be more different: think, albeit with a generous pinch of salt, Legally Blonde mixing with an unhappy singlular version of On Golden Pond.Jane, played by newcomer Dree Hemingway (daughter of Mariel, for what it’s worth) has transplanted, complete with her titular chihuahua, from Florida to the San Fernando Valley to pursue what we might assume will be studies. Though as the Read more ...