Film Reviews

Mr Turner

Matt Wolf Friday, 31 October 2014

There's been much talk about Late Turner, to co-opt the name of the exhibition now on view at Tate Britain covering the last 16 years in the English artist JMW Turner's singular career. And as if perfectly timed to chime with those canvases in celluloid terms is Mr Turner, the ravishing film that stands...

The Fall of the House of Usher, Sound Affairs, Malvern

stephen Walsh Thursday, 30 October 2014

At least three composers have set about turning The Fall of the House of Usher into operas, including most famously Debussy, whose abortive attempt, completed by Robert Orledge, was brilliantly staged by Welsh National Opera in June. But there is a good argument that Poe’s story – short on incident and character, long on visual image and atmosphere – lends itself better to film than to the stage.

Horns

Adam Sweeting Thursday, 30 October 2014

Adapted from the cult novel by Joe Hill (son of Stephen King) and directed by Alexandre Aja, Horns can't keep itself on an even tonal keel for more than a few minutes. Part policier, part doomed romance and part gothic nightmare, I suppose it might even have created its own nano-genre.

Nightcrawler

Katherine McLaughlin Wednesday, 29 October 2014

“If it bleeds it leads”, proclaims crime news reporter Joe Loder (Bill Paxton) as he investigates the bloody remains of a car crash with his invasive camera lens in a bid to make the biggest bucks out of the exploitation of human tragedy. It’s a mantra which curious onlooker Lou Bloom (Jake Gyllenhaal, who has shed a massive 30 pounds for the role) takes to grim and vicious extremes when he sets up his own TV news business.

Invasion of the Body Snatchers

Kieron Tyler Tuesday, 28 October 2014

The key lines are “you’re reborn into an untroubled world” – a world “where everyone’s the same.” The 1956 Don Siegel science fiction film Invasion of the Body Snatchers is often taken as a response to America’s fear of Communism and the associated suppression of self, or as a commentary on the encroaching conformity brought by the spread of consumerism and a regimented suburbia. In both cases, homogenisation and standardised behaviour were the potential result.

The Overnighters

Tom Birchenough Monday, 27 October 2014

In The Overnighters documentarist Jesse Moss found his story and pursued it with remarkable empathy, all in the best traditions of the genre. He persuaded both sides in this tale of (quiet) confrontation to trust him, and they opened up completely. Then closing minute revelations that come as a total shock take his film to a different level, turning what would have been a strong film in itself into something that will stay in the memory for a very long time.

Jimi: All Is By My Side

Karen Krizanovich Thursday, 23 October 2014

The Jimi Hendrix redux directed by John Ridley, Oscar-winning scriptwriter of 12 Years A Slave (and the underrated Undercover Brother, among others), was highly anticipated - especially as this take on the great guitarist’s life would not, apparently, feature any hits.

The Babadook

Nick Hasted Thursday, 23 October 2014

Mother love is mangled, yanked inside-out and tested almost to destruction in Australian writer-director Jennifer Kent’s heartfelt horror debut. The Babadook enthusiastically fulfils its remit to scare, but finds its fright in the secret corners of maternal instinct, where frustration, grief and violence meet.

Fury

Emma Simmonds Wednesday, 22 October 2014

As the bald title suggests, Fury is a work of righteous, focussed rage. It's a combat film which swaps preaching and profundity for pure anger at the brutalising, destructive war machine, and still manages to be illuminating. For, even at its most thrillingly Hollywood, Fury retains a keen sense of the waste of life. Director David Ayer's fifth film features explicit, immersive and impactful violence and works best when it's pummelling the audience and Nazis alike, with...

Serena

Jasper Rees Wednesday, 22 October 2014

If you make a film about logging, you better be sure the audience can see the wood for the trees. When Jennifer Lawrence and Bradley Cooper lead a cast, usually they can do no wrong. Alas, where Silver Linings Playbook and American Hustle offered wit, surprise and characters to root for, such qualities are in meagre supply in Serena.

The Way He Looks

Tom Birchenough Tuesday, 21 October 2014

Falling in love for the first time is one of the standard tropes of the movies. Brazilian director Daniel Ribeiro gives it a new twist by making the teenage hero of his The Way He Looks (Hoje Eu Quero Voltar Sozinho) blind, and realising in the course of the film that he’s gay.

LFF 2014: Germany, Pale Mother

Nick Hasted Monday, 20 October 2014

When can Nazi Germany be humanised? Never, many German critics believed on Germany, Pale Mother’s 1980 release, when it was apparently despised for its “subjective” account of one woman and her daughter’s lives in that era and its aftermath.

This Is Where I Leave You

Veronica Lee Monday, 20 October 2014

Normally in Hollywood films, adult siblings being forced to spend time together is Thanksgiving-related, but in Shawn Levy's latest it's their father's death that brings the four grown Altman children together. Their dad, Mort, although an atheist, had a dying a wish to have his Jewish heritage honoured by his family sitting shiva (seven days of mourning).

LFF 2014: Winter Sleep

Nick Hasted Sunday, 19 October 2014

Nuri Bilge Ceylan’s Cannes Palme d’Or winner is an epic chamber piece by a contemporary great. From the moment a stone suddenly smashes the car window of landlord Aydin (Haluk Bilginer), physical threat darkens the corners of the remote Anatolian hotel-home he shares with his bitter, bored sister Necla (Demet Akbao) and young, emotionally dying wife Nihal (Melisa Sozen).

LFF 2014: Margarita, With A Straw

Karen Krizanovich Saturday, 18 October 2014

In the vein of My Left Foot, Inside I’m Dancing and Gaby: A True Story, Margarita, With A Straw focuses on living a full life with cerebral palsy. Laila (Kalki Koechlin) is a young woman who lives in Delhi with her supportive and loving family. Despite ructions between mother (Revanthi) and daughter, Laila’s life is pretty good. Growing up is another matter and after one particular embarrassment, she takes on an opportunity to study in New York City.

LFF 2014: A Little Chaos

Matt Wolf Saturday, 18 October 2014

Alan Rickman returns to film directing 17 years after he first stepped behind the camera with a film as pulpy and bodice-ripping as his debut feature, The Winter Guest, was chilly and austere. Visually enticing and packed with a blue-chip international array of actors, several of whom have precious little to do, A Little Chaos addresses a preferred English topic (gardens and gardening) displaced to some mighty elegant French environs.