Film
Nick Hasted
Joe Dante feeds the idealised small-town America of his producer Spielberg into the mincer of an anarchic Warner Bros. cartoon in this riotous 1984 hit. Chris Walas’s creature designs are crucial to it, as mysterious, lovably big-eyed pet Gizmo spawns scaly-backed lords of impish mayhem the Gremlins. Whether “carol”-singing Jerry Goldsmith’s capering theme or riding the back of the screaming local Santa, as triple-cigarette-puffing barflies or the world’s most anti-social cinemagoers, you soon warm to their tireless delinquency. Teenage hero Zach Galligan’s mum admittedly thinks otherwise as Read more ...
Tom Birchenough
“Cringed” is the adjective you want to invent to describe Kate, the dipso heroine of James Ponsoldt’s Smashed who's played by Mary Elizabeth Winstead. If there’s one thing that Ponsoldt's script, co-written with Susan Burke, captures - actually, there are many - it’s the excruciating embarrassment of waking up in the morning and dimly recalling what you’ve got up to the drunken night before.Energetic camerawork from Tobias Datum thrusts us right into Kate’s home as she necks a beer in the shower before work, while husband Charlie (Aaron Paul) lies in - he’s a music journo and gig-goer whose Read more ...
Jasper Rees
The romcom is an oddball. Though an ever-present at the multiplex, of all the genres it remains notoriously reluctant to take wing. The path of true love ne’er did run without all the usual box-ticking plot swerves. Full credit then to Celeste and Jesse Forever, for coming at the problem from a sideways angle. In this reimagining, boy and girl have lost each other before the start of the movie – they’re divorcing – but are still best of friends. In fact, creepily so.Celeste (Rashida Jones) is a thriving PR executive and finger-on-the-pulse author of the self-explanatory Shitegeist. She can Read more ...
Kieron Tyler
Although it's impossible to place yourself in the shoes of audiences seeing these other-worldly short films at the dawn of the 20th century, the reaction they provoke now cannot be that different. Delight, surprise and then amazement. These films were meant to be magical, and remain so. Taking 19th century theatre in all its forms, capturing it on film and making it even more unreal with hand tinting and editing resulted in a unique strand of cinema.Fairy Tales collects 25, chronologically sequenced, films made by the Pathé Frères between 1901 and 1908. Most are feéries, or fairy films, but Read more ...
emma.simmonds
As anyone who saw The Next Three Days, A Good Year, or Proof of Life will know, Russell Crowe has frequently been one to squander his talent in mediocre or plain terrible fare. His latest, The Man with the Iron Fists, is a 1970s-inspired martial arts menagerie which makes LA Confidential feel like a very long time ago. It’s an almost literal assault on the eyes and ears – entertainingly mad and fitfully bad. But at least this time Crowe looks like he’s having a ball, and to be fair you might too.The Man with the Iron Fists is the passion project of Wu-Tang Clan’s RZA (aka Robert Fitzgerald Read more ...
Matt Wolf
There's only one Martin McDonagh as is proven anew by Seven Psychopaths, the latest from the London-born Irish playwright and erstwhile wunderkind who in recent years has transferred his brand of casual and often comic cruelty to the screen. Featuring a predominantly male ensemble that amounts to McDonagh's ad hoc repertory troupe, the film is cheerfully violent on all manner of topics including the nature of movie-making itself, and its "meta" quality is sure to divide audiences, who will either be entranced or irked by what's on view. McDonagh devotees can groove on a script that pokes Read more ...
Emma Dibdin
There are very few examples in film history of a son directing his mother, and there’s a distractingly Oedipal vibe at the core of Barnarby Southcombe’s I, Anna that might offer some clue as to why. Charlotte Rampling turns in a brittle, enigmatic performance in her son’s big-screen debut, playing the eponymous divorcee whose attempt to become sexually bold goes violently awry.Anna attends a singles evening initially with trepidation, but gains momentary courage from a straight-talking fellow single (Honor Blackman), who encourages her to loosen up. She goes home with a man. Cut to Read more ...
Jasper Rees
For all its playful, subversive energy, it’s sometimes easy to view the Czech New Wave as kind of a stylistic monolith. In fact, the slackening of state control between 1963 to 1968 spawned a variety of filmic departures, and three very different forks in the road are travelled down in this latest collection from Second Run, each profoundly radical in their own way.Earliest and, at just over an hour, shortest is the feature debut of Jan Němec, Diamonds in the Night (1964), an adaptation of Arnošt Lustig’s novel about two young fugitives in Nazi-occupied Bohemia (pictured below). With Read more ...
Nick Hasted
Michael Haneke’s Amour was the big winner last night in the European Film Awards’ silver jubilee year. As well as Best Film, Haneke won Best Director, as he did for his previous two films The White Ribbon (2009) and Hidden (2005), while his veteran stars Emmanuelle Riva and Jean-Louis Trintignant were named Best Actress and Actor. It showed both the Oscars-style pack mentality of the European Film Academy voters for their favourite auteurs (shown most alarmingly with Polanski’s blanket wins for his mediocre The Ghost in 2010), and a genuine conviction that Haneke is a master European director Read more ...
Graham Fuller
At 23, Xavier Dolan may not be the new Jean-Luc Godard, but he could be the new Léos Carax. And Laurence Anyways – a tempestuous romantic melodrama spanning the entire 1990s – could be his Les Amants du Pont-Neuf. The third feature made by the Québécois enfant terrible dazzlingly demonstrates his prodigious talent as a metteur-en-scène and director of actors, though, at 168 minutes, it’s about 45 too long.It’s also burdened by narrative cul-de-sacs (not least a clumsy framing device) and peppered with baroque and disco-flavoured visual flourishes that render it stylistically inconsistent. Read more ...
Adam Sweeting
Some say director Thomas Vinterberg has never equalled his triumph with Festen (1998), but with The Hunt it's time for everyone to think again. An assured and claustrophobic drama which ruthlessly picks apart the seemingly civilised facade of a small Danish town, it's a film that reverberates in the imagination and proves yet again what a fine actor Mads Mikkelsen is.Mikkelsen plays Lucas, a recently divorced 40-year-old working as a kindergarten assistant following the closure of the school which previously employed him. Though he's still trying to reassemble the disordered pieces of his Read more ...
Tom Birchenough
With a title like this, you know you’re getting something different. Madeleine Olnek’s first feature is a quirky love story set in her native New York, which is portrayed with enchanting zaniness. Where else would you expect the arrival of female space aliens, with bald heads and distinctive collared costumes (to hide their gills, since you ask) to pass unnoticed? Welcome to Olnek’s micro-budget, stylish black-and-white world that revels in its Fifties B movie sci-fi ancestry, complete with juddery spacecraft. Homely Jane works in a stationery store that gives new definitions to banality Read more ...