Film Reviews
TimbuktuThursday, 28 May 2015
The imposition of a brutal jihadist regime is relayed with formidable articulacy and a surprising lightness of touch in this gut-wrenching drama from Mauritanian director Abderrahmane Sissako. Although its narrative events are as horrifying as those of any thriller Timbuktu avoids the manipulative tricks of genre cinema. Read more... |
Danny CollinsThursday, 28 May 2015
Al Pacino gives it his barnstorming all as Danny Collins, an ageing, coke-rattled rocker who calls it quits in order to reconnect with his family and recharge his life. Sentimental (but not brazenly so) and buttressed by an ace supporting cast, the film finds Pacino hurtling through his 70s in irresistibly energiser bunny mode. Whereas such contemporaries as Gene Hackman and Jack Nicholson have pretty well faded from view, there's plenty of life in this celluloid mainstay yet. Read more... |
The New GirlfriendFriday, 22 May 2015
François Ozon’s sly fascination with radical family units takes another, surprisingly gentle twist here. Based on a Ruth Rendell story but equally inspired by French protests against gay marriage, this is an affecting romcom starring a secret male transvestite and a woman, brought together by their love for the same dead person. Read more... |
A Girl Walks Home Alone at NightThursday, 21 May 2015
A skateboarding female vampire in a striped Brêton top. A James Dean look-alike with a junkie father. A prostitute as confessor. Spaghetti western-influenced music. The black-and-white A Girl Walks Home Alone at Night is a smorgasbord of attention-grabbing elements brought together in what is being promoted as the “first Iranian vampire Western”. Read more... |
Only Angels Have WingsSaturday, 16 May 2015
Howard Hawks and Cary Grant made five films together. Bringing Up Baby, His Girl Friday, I Was A Male War Bride and Monkey Business were all screwball comedies, made by two of the genre’s leading exponents. As an adventure film, Only Angels Have Wings was the odd one out, but certainly no ugly duckling. Read more... |
Mad Max: Fury RoadFriday, 15 May 2015
There is still much to be said for George Miller's original 1979 Mad Max, a cheap but ferocious tale of rape, murder and vengeance in a gang-infested dystopia. However, only two sequels later, Mad Max Beyond Thunderdome (1985) found the franchise blimping out into a steroidal freak-show. After a 30-year intermission, Fury Road is much more of the latter, now saturated with digital enhancements while almost dispensing with plot entirely. Read more... |
Clouds of Sils MariaFriday, 15 May 2015
When Hollywood characters revisit their youth it tends to be through the school reunion, with generally trite results; how typical of a French filmmaker, and of the cerebral, cinephile Olivier Assayas in particular, that his character should be an actress, who is pushed towards midlife crisis by a role. Read more... |
A Fuller LifeThursday, 14 May 2015
A master of visceral cinema, Samuel Fuller (1912-97) directed 23 features during his exemplary career, writing 21 of them and an unquantifiable number of others. Read more... |
A Royal Night OutThursday, 14 May 2015
The ongoing penchant for all things royal reaches a momentary impasse with A Royal Night Out, an eye-rollingly silly imagining of what the young Princesses Margaret and Elizabeth might have got up to on VE Day. Read more... |
The TribeWednesday, 13 May 2015
In The Tribe, his feature debut, Ukrainian director Myroslav Slaboshpytskiy has created something totally unexpected, and viscerally powerful to boot. This dark tale of life among inmates of a Kyiv institution for the deaf avoids spoken language completely, leaving viewers to assemble the narrative for themselves: communication is only in sign language, heralded consciously in an opening screen-title as presented without translation, subtitles or voiceover. Read more... |
Lambert & StampTuesday, 12 May 2015
“I fell in love with both of them immediately,” says Pete Townshend of Kit Lambert and Chris Stamp, the managers who took his band The Who to world-wide success. An hour into Lambert & Stamp, a documentary on the duo, the depth of that bond is belatedly seen in a touching clip of Townshend demonstrating one of his new songs. Singing with acoustic guitar, Townshend tries a tentative run-through of “Glittering Girl”. Read more... |
RosewaterFriday, 08 May 2015
Jon Stewart’s Rosewater falls into the micro-genre of films about foreign correspondents struggling with the moral imperative to move from observer to participant, not a question that keeps most viewers up at night. But where Peter Weir’s The Year of Living Dangerously engaged us through a stirring romance and Oliver Stone’s Salvador through a stirring bromance, Stewart takes a more austere approach. Read more... |
Phoenix reviewFriday, 08 May 2015
Although the shadows of the Holocaust and German guilt hang over Christian Petzold’s sixth outing with his formidable muse Nina Hoss, Phoenix is more concerned with the essence of female identity. Read more... |
Spooks: The Greater GoodThursday, 07 May 2015
The idea of a movie spin-off from BBC One's spy show Spooks has been lurking with intent ever since the tenth and final series ended in 2011. Finally it's here, helmed by director Bharat Nalluri (who shot the first and last episodes for TV) and with Peter Firth's Sir Harry Pearce at its centre. Where, as the Spookfather-in-chief, he had to be. Read more... |
GirlhoodThursday, 07 May 2015
Confounding expectations from the first frames, Girlhood is the endearingly scrappy and staggeringly beautiful third film from French writer-director Céline Sciamma (Tomboy) and no relation to Boyhood. Intimate and exuberant, it's a coming-of-age story that takes us into the company and confidences of a quartet of teenage girls. Read more... |
Stray DogsTuesday, 05 May 2015
Whatever you make of Taiwanese director Tsai Ming-liang’s Stray Dogs (Jiao you), it’ll likely have you looking at your watch. If you’re hypnotized by its almost narrative-free, stretched naturalism – stretched so far as to become effectively stylization – part of the interest will be in knowing just how long the director holds some of his crucial scenes; the closing one, wordless and virtually still, must come in at almost a quarter of an hour. Read more... |
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