Film
Nick Hasted
This is a fairy tale which may send children to sleep before the good bits, then wake them up screaming at the first glimpse of loping, bestial giants. Splicing Jack the Giant-Killer (subject of a 1962 kids’ monster movie which gave me nightmares) and the more familiar Jack and the Beanstalk, it has farmboy Jack (Nicholas Hoult) spilling the magic beans, and following mildly rebellious princess Isabelle (Eleanor Tomlinson) up the resultant beanstalk to a stone kingdom of giants above the clouds.Along for the ride are king’s men Elmont (Ewan McGregor, unfeasibly youthful and dashing) and Read more ...
Demetrios Matheou
With the customarily narrow perspective that informs much film distribution in the UK, we might be forgiven for assuming there is just one subject in Brazilian cinema: crime; in particular, the drug-related gang wars in the favelas. We certainly haven’t seen much to suggest otherwise, since City of God.Of course, with 100-odd movies released each year, there is a far greater breadth at play. Like their counterparts throughout Latin America, Brazilian filmmakers are adept at depicting their fluid, culturally and socially diverse societies on screen, often in films that defy genre or any such Read more ...
Nick Hasted
When Matteo Garrone’s sixth film Gomorrah won the 2008 Grand Prix at Cannes, it announced Italian cinema’s resurrection to the world. When his follow-up, Reality, won the 2012 Grand Prix, opinion was more divided. Where Gomorrah rigorously exposed the inescapable impact of the Camorra gangs on Naples and the surrounding region, giving a grimly compelling tour of a hidden world, Reality is the more slippery tale of Luciano (Aniello Arena), an amiable, amusing Naples fishmonger pushed by his family to enter a heat for Italy’s Big Brother, Grande Fratello. The possibility of appearing on TV Read more ...
Graham Fuller
Future writer-directors who cast their mothers in their first features should be as blessed as Barnaby Southcombe, who was able to cast his mum, Charlotte Rampling, in the title role of I, Anna. An actress on a formidable run, whose sphinx-like reticence usually shields her characters psychological complexities, she is typically riveting here.Southcombe adapted the script from the 1990 debut novel of psychoanalyst Elsa Lewin, transposing the story from New York to London. A soignée department store bed saleswoman, Anna exudes quiet confidence, but her desperate loneliness has led Read more ...
emma.simmonds
In Post Tenebras Lux (light after darkness, in Latin) Mexican writer-director Carlos Reygadas casts a spell which transforms the ordinary into the extraordinary. The human condition is eye-poppingly explored in this ambitious, sometimes puzzling work of visual poetry, buoyed by the innocence of children and mired in the contrasting anxieties of their parents. Whether it's sexual neurosis, the natural world, or kids at play it's all too beautiful. Confounding, intoxicating and hugely rewarding, Post Tenebras Lux won Reygadas Best Director at the 2012 Cannes Film Festival. This is cinema as Read more ...
Veronica Lee
Anyone who has ever sat through a Las Vegas show – whether in the Nevada desert city or on tour – will instantly recognise the cheesy, overblown nonsense being lampooned throughout this movie. Whether they'll find it as funny is another matter. For while The Incredible Burt Wonderstone has its moments, two thoughts interrupted my viewing enjoyment: one, the big-blown magic shows on the Strip are surely beyond parody; and two, if they are going to send them up, the makers of The Incredible Burt Wonderstone could have done it so much better.But hey, it's funny enough to be getting on with. We Read more ...
Kieron Tyler
For anyone who missed Sightseers in the cinema, purchasing it on DVD is a must. Its blend of the shocking and what initially seems a quirky, Mike Leigh-style British road movie is audacious. Mischievously subverting the familiar, it’s funny, pathos-filled and openly questions the nature of morality. It’s hugely entertaining too.By now, the adventures of Steve Oram’s ginger-faced Chris and Alice Lowe’s angry-woman Tina have been recounted endlessly. Both their performances are sure to fuel cult fandom, with Sightseers assured an afterlife akin to that of Withnail and I. Director Ben Wheatley Read more ...
Graham Fuller
Ken Loach’s first solo documentary since The Flickering Flame, The Spirit of ‘45 is an indispensable agitprop movie that might have been subtitled Days of Hope, after Loach and Jim Allen’s 1975 drama serial about the political struggle of a socialist family between the Great War and the General Strike. Hope in 1945 resided not in the kind of militancy that emerged in Britain following the Russian Revolution, however, but in the idea that the people who had won World War II together could build the peace together.Constructed from archival footage and on-camera oral reminiscences of socialist Read more ...
Peter Culshaw
Over the last few years the Poles have been pumping money into the arts, partly as a way of branding the country (it works according to their research – many of us are now as likely to think of jazz musicians as plumbers when we think of the country).There was Polska! Year in 2009/10 – with hundreds of artistic events, setting up international orchestras and, on now, the increasingly adventurous and influential Kinoteka, the Polish Film Festival which runs until the end of the week.A couple of extraordinary films have already been shown including the UK premiere of Fuck For Forest (on Read more ...
emma.simmonds
You wait years for another interesting Nicole Kidman film and then two come along at once. Two weeks ago it was the elegantly malevolent Stoker and now here's sweaty, shameless noir The Paperboy. It's a film that takes Zac Efron's squeaky clean reputation and quite literally pisses all over it. Or more accurately Kidman does, since Lee Daniels' follow-up to Precious features a sequence where the Oscar winner urinates on the jellyfish-stung star of High School Musical. A tawdrily entertaining tale, shot through with youthful lust and romantic delusion, The Paperboy might not deserve to be Read more ...
Jasper Rees
For all the brilliance of its leads – Jean-Louis Trintignant back in the cinema after many years, Emmanuelle Riva cruelly pipped for an Oscar – it’s easily forgotten that Amour is a zeitgeist film. As the First World’s population ages, narratives of old age are starting to grow on trees. The difference is that Michael Haneke’s resounding chamber piece about fractured geriatric identity is not in the business of saccharine consolation.A romance set in the deep midwinter of a married couple’s final years, Amour watches pitilessly as Georges and Anne – refined equals in intellect and taste – Read more ...
Kieron Tyler
As a finely drawn portrayal of loneliness and solitude encouraged by bottled-up emotions, Shell would be noteworthy enough. But it also contains two scenes – father and daughter interactions - that are deeply uncomfortable viewing. First-time feature director Scott Graham’s encapsulation of the life of 17-year old Shell and her father Pete’s life at an isolated Scots garage isn’t going to be quickly forgotten.Shell’s mother left years ago, for unspecified reasons. With an epileptic father, her routine, such as it is, is set by the infrequent customers that stop to fill up on the journey Read more ...