Film
Graham Fuller
Michael Cimino’s Heaven’s Gate is the most Melvillean of modern Westerns. It is the American conquest tragedy allegorised in a sprawling semi-fictional account of the 1892 Johnson County range war, in which the big ranchers of the Wyoming Stock Growers’ Association, supported by President Benjamin Harrison, waged a vigilante campaign against the region’s small farmers, settlers, and rustlers. The film’s Ahab is Frank Canton (Sam Waterston), the supercilious, monomaniacal leader of the WSGA’s mercenary Regulators.Cimino included the conflict’s two most fabled incidents. One was the brave stand Read more ...
Veronica Lee
The basic set-up for The Heat is familiar – two mismatched cops are thrown together on a case and have to find a way of working together despite their differences in social background and methods – only in this case the officers are female. Add to the mix that the two actresses playing the roles are playing to type - loudmouth Boston street cop Shannon Mullins (Melissa McCarthy, almost reprising her Bridesmaids role) and prissy, super-bright but socially inept FBI agent Sarah Ashburn, as essayed by Sandra Bullock in any number of her films.The Heat, written by Katie Dippold (who writes on Read more ...
Karen Krizanovich
Influencing Alfonso Cuaron's Gravity, director Andrei Konchalovsky’s underrated marvel Runaway Train is finally available on crisp Blu-ray: think masculine philosophy meets Alaskan wilderness in an existential thriller as exciting today as it was in 1985.Two convicts – Oscar “Manny” Manheim (Voight in an Oscar-nominated role) and the beautiful, irritating Buck McGeehy (Eric Roberts, also nominated for an Oscar) – flee an Alaskan high security prison. Only moments ahead of vindictive warden Ranken (John P Ryan), Manny chooses an ominous locomative (the forboding, box-like powerhouse EMD GP7, a Read more ...
Nick Hasted
Ulrich Seidl claims there’s a simple reason he goes easier on young teenager Melanie’s stumble through 21st-century sexual desire and disaster than he did with her mum and aunt in Paradise: Love and Paradise: Faith. Going further with her requited crush on an adult would have involved exploiting his young star Melanie Lenz. So a director known for his provocations dutifully pulls up short. There’s nothing here to compare with mum Margarethe’s morally unmoored buying of male prostitutes in Mobasa in Love, or militant Catholic aunt Maria’s masturbation with a crucifix in Faith. But Seidl’s Read more ...
Nick Hasted
Schoolchildren drowning under a frozen lake in their crashed bus is the image most people still associate with Atom Egoyan. The Sweet Hereafter (1997), which pivots on that scene (the ill-fated bus is pictured below), gained him Oscar nominations as director and screenwriter, and reinforced the breakthrough made by Exotica (1994), in which a man harbouring an awful secret you dread being revealed keeps coming back to a strip-club’s schoolgirl-costumed dancer.Egoyan’s most financially successful and worst-reviewed film was Chloe (2007), in which Julianne Moore, Liam Neeson and Amanda Seyfried Read more ...
emma.simmonds
Introducing his latest film at a preview screening, the Danish director Nicolas Winding Refn commented, "If Drive was like taking really good cocaine, Only God Forgives is like taking really good acid." It's an appropriate (and characteristically provocative) comparison - and if Only God Forgives is not quite the trip one might hope for, it's certainly hypnotising and alarming. That Winding Refn's ninth film is dedicated to the Chilean surrealist filmmaker Alejandro Jodorowsky (best known for El Topo and Santa Sangre and a mentor to Winding Refn) gives you an idea of the kind of Read more ...
theartsdesk
There's good cops and bad cops, hard cops and soft cops, old cops and young cops, funny cops and straight cops, maverick cops and by-the-book cops. The pairings are legion, the permutations endless. The movies teem with buddy cops, unlike paired with unlike to bring down bad guys. They've all pretty much got one thing in common: it's a guy thing. Yes, when it comes to reeling in the guilty parties, not a lot of sisters get to do it for themselves. The release of The Heat, a shoo-in as this summer's big comedy hit, has found us trawling through the archives to celebrate other instances of Read more ...
Nick Hasted
Wolverine is a second-division, third-generation Marvel superhero, and for all the care devoted to his sixth cinema outing, he remains the problem here. First introduced in 1974, Stan Lee and Jack Kirby – comics’ Lennon and McCartney – were no longer on hand to conceive this metal-clawed lunk with the adolescently resonant weaknesses they gave Spider-man and the rest. Instead, Wolverine had over-wrought, tin-eared Chris Claremont to chronicle his key years as the star turn in the X-Men, a firm fan favourite who never touched the general public.This second attempt at a solo film away from the Read more ...
Kieron Tyler
Few real-life subjects of a film would allow themselves to be seen in the way Ginger Baker is in Beware of Mr. Baker. He’s violent, bullying, self obsessed, a control freak, irresponsible, sexist, foul-mouthed and harbours decades-long grudges. Since he doesn't appear to be ill, it's difficult to ascribe his behaviour to forces beyond his control. He does, though, love animals and is a legendary drummer. So that’s all right then. Not only is Beware of Mr. Baker a testament to director Jay Bulger’s tenacity, it’s a portrait of a human so grotesque that even William Hogarth couldn’t have Read more ...
Kieron Tyler
Newly restored versions of old films in cinemas are commonplace. This revival of Alfred Hitchcock’s Dial M for Murder is set apart due to it being in 3D, as it was originally intended to be seen. But unless you were able to catch it in the few American cinemas where it screened after its May 1954 New York premiere, the original has proved elusive, although 3D versions have surfaced intermittently.It was seen by audiences in red-and-green specs in 1980, in a form which did the rounds for a couple of years afterwards. There was another attempt to bring it back to life in 2004. Then, last summer Read more ...
Adam Sweeting
You might wonder if anybody really deserves three and a half hours of TV biography, but after the first half of Robert Weide's immense survey of Woody Allen, the nebbish messiah, I was pawing the carpet in anticipation of part two. Documentaries don't, as a rule, leave you in seizures of mirth, but the judicious selections from Allen's bottomless catalogue carried a sealed-in guarantee of hilarity despite being snatched from their original context.But it isn't just comedy, or perhaps it's comedy as the visible tip of a fully-rounded philosophical iceberg. Even Allen's shortest one-liners may Read more ...
Jasper Rees
Oddly, there is quite a cinematic sub-genre starring killer whales. The killer’s first (and worst) lead role was opposite a hammy Richard Harris in Orca, a shameless attempt by Dino De Laurentiis to ape the success of Jaws. Then came Free Willy, which in three icky instalments repositioned killers as essentially cuddly. That image took a dent in Rust & Bone after Marion Cotillard’s whale trainer spent much of the film without any legs courtesy of a captive orca. And now there’s Blackfish, a documentary which lifts the lid on the theme parks where killer whales work as aquatic circus Read more ...