Film
Jasper Rees
It doesn’t look broken from above. Broken City now and then takes to the skies over New York to look down on the splayed conurbation. Grand views of the skyline find silver towers a-shimmer, blue rivers a-glimmer and autumn’s burnished-bronze trees aflame. Wow, you think, could we stay up here way more and spend a little less time down there in the squalor, the corruption and, worst of all, Allen Hughes’ risible coloured-crayon stylings?You may recall Hughes’s big-screen breakthrough From Hell (2001). Big fan of blood, and the values of the graphic novel. He brings those tropes to an action Read more ...
Karen Krizanovich
Shakespeare’s Julius Caesar, set in an Italian prison, performed by criminals? If it sounds like a gimmick, the Taviani brothers’ Caesar Must Die is anything but. Following a popular tradition of freshening up Shakespeare's works with a shift in setting or location (think 10 Things I Hate About You or Ran), the Tavianis' deft editing creates a lean and intriguing 76 minutes that outstrips three hour epics in meaning and depth.Now in their eighties, the brothers are no strangers to effective cinema, with Padre, Padrone and Night of the Shooting Stars hallmarks of their time. Discovering Julius Read more ...
Kieron Tyler
Inevitably, in box sets collecting the works of a single director one film will overshadow the others. So it is with the four discs of The Claire Denis Collection, where 2009’s White Material expresses the temperament, texture and compositional style of a Denis film more effectively than its three companions. This doesn’t mean that White Material should be watched first, or that it’s better than Chocolat (1988), Nénette et Boni (1996) or Beau Travail (1999), just that it is the finest distillation of Denis to date.Assessing a director from four films plucked their wider oeuvre is risky, but a Read more ...
Matt Wolf
Emmanuelle Riva travelled all the way to Los Angeles for that? I doubt I’m the only one whose heart went out to the radiant French actress, newly turned 86, as the 85th annual Academy Awards drew to a long and lumbering close well into its fourth hour. Sure, Lincoln star Daniel Day-Lewis made history, becoming the first actor to win three leading Oscar trophies, and Austria could celebrate both Django Unchained co-star Christoph Waltz’s second supporting actor Oscar in four years and the Foreign Film trophy for Austrian director Mikael Haneke and his French-language Amour.Michelle Obama even Read more ...
Adam Sweeting
Suddenly everyone is noticing that Richard Gere, now 63, is a much better actor than he used to be in his aloof and self-regarding youth. In Arbitrage, written and directed by Nicholas Jarecki, Gere plays powerful and privileged Manhattan hedge-fund magnate Robert Miller. Since the financial crisis, characters like this are routinely portrayed as surrogate Pol Pots or relatives of Hannibal Lecter, but Gere manages to convey Miller's lust for money and testosterone-drenched sense of entitlement while also suggesting that there's a part of him that is, or at least was, capable of finer feelings Read more ...
emma.simmonds
Given the quantity of uncertain outcomes, this year's Academy Awards guarantee excitement, and there's nothing better than an Oscars ceremony filled with surprises. Furthermore, the selection of films nominated this year are of a rare vintage. Today we turn our attention to the remaining major awards, with only one looking possible to confidently predict. These three categories are as remarkable for their omissions as they are their inclusions: the Best Actress category features both the oldest and youngest ever acting nominees and discussion of the Directing category has thus far focussed on Read more ...
Matt Wolf
Time is drawing nigh to mark those Oscar ballots, but what movie should one vote for as the year's best? While odds-makers have been busily touting one title over another, the less-vaunted fact about this year's shortlist is that relatively few stinkers have made the cut. Last year, for instance, saw the head-scratching inclusion of Extremely Loud and Incredibly Close among the Best Picture candidates, while admirers of Martin Scorsese are still wondering how it is that a minor effort of his like The Departed went the distance in 2007 when such benchmark Scorsese offerings from a previous era Read more ...
emma.simmonds
No your eyes don't deceive you - Terrence Malick has directed another film, released not even two years after his last offering The Tree of Life. If you've no idea why that's worth remarking on, the gaps between his last four offerings were respectively six, seven and - drumroll please - 20 years. To The Wonder may be in the same ballpark of beauty as Malick's previous picture, and sound as if it shares the same astronomical ambition, but where that film soared this one sometimes struggles.It starts with an attractive couple, rapturously in love. They are the Neil (man of the moment Ben Read more ...
Karen Krizanovich
Skipping across time and place – South Pacific 1849 to Cambridge/Edinburgh 1936 to San Francisco 1973 to UK (looks like England) 2012 to Neo Seoul 2144 to Earth’s post-apocalyptic Hawaii 2321 – Cloud Atlas is like a scary old punk who's actually quite nice. A simple and satisfying moral centre stops you from feeling its 172 minutes are a waste of time and its six stories don’t intertwine as much as play tag with each other. But look past extraordinary makeup, special effects, distracting painted horses and Hugo Weaving as Old Georgie, an irritating amalgam of Tom Waits and Johnny Depp, and Read more ...
Graham Fuller
Walter Salles was an obvious choice to direct the movie of Jack Kerouac’s roman à clef about his peripatetic life in 1947-50 and his worship of the dynamically dissolute Neal Cassady (Garrett Hedlund as Dean Moriarty). Not only did the Brazilian filmmaker have the advantage of being able to bring an outsider's perspective to the rusty Beat canon, but his handling of Central Station and The Motorcycle Diaries had revealed his knack for harnessing topographic images to the emotional experiences of traveling companions. Atmospherically photographed by Éric Gaultier, the vistas don Read more ...
Karen Krizanovich
Frank Capra called the Oscars “the most valuable, but least expensive, item of world-wide public relations ever invented by any industry”. They are, like it or not, the film awards against which all others are judged - even to the point that other countries’ film awards are scheduled in relation to the ceremony. Despite being the accepted mark of excellence, the Oscars are not a meritocracy. The choice of one art work/film product over another is, necessarily, irrational and Oscars' critics often say AMPAS members are too old and out of touch to cast such important votes.Whatever its flaws, Read more ...
Matt Wolf
You don't have to be highly impressionable to get a shriek or two out of Mama, but it would help, and I suppose there are filmgoers who may never look at walls in quite the same way again. Elegantly shot and boasting Oscar hopeful Jessica Chastain in Joan Jett-like form as an imperilled hipster, the movie goes heavy on portentous sound effects and creepy-crawlies. What it lacks pretty much entirely is common sense. On the other hand, who submits to such genre pictures for logic? The whole point of director Andy Muschietti's movie is to trot out a time-honoured arsenal of horror film Read more ...