Film Reviews
Side EffectsThursday, 07 March 2013
Stephen Soderbergh would have us believe that this might be his last movie, which is difficult to believe. But if so, he's bowing out with one his sharpest, most devious and most watchable pictures, in which a shrewdly-chosen cast does full justice to a screenplay over which Scott Z Burns has pored painstakingly for more than a decade. Read more... |
BrokenWednesday, 06 March 2013
"I'm so worn out with it," a character remarks in a different context well into Rufus Norris's film Broken, to which one is tempted to respond, "Ain't that the truth!" A dissection of so-called "broken Britain" in all its jagged disarray, stage director Norris's debut film wants to be excoriating but is instead mainly exhausting and feels infinitely longer than its briefish running time. Read more... |
The Guilt TripTuesday, 05 March 2013
Of all the pairings you might have thought would star in a cross-generational road movie, I suspect Seth Rogen and Barbra Streisand would be the last names you would have put together, despite their undoubted comedic talents. Read more... |
Robot & FrankMonday, 04 March 2013
We've hardly gone wanting for big-screen robots of late – Michael Fassbender's inpenetrable cyborg was the best thing in Ridley Scott's overly ponderous Prometheus last year, while many have argued that Pixar reached its pinnacle with disarming robot-rom WALL-E in 2008. Read more... |
StokerFriday, 01 March 2013
It's about time the world got to know South Korean director Park Chan-wook. His "vengeance" trilogy (and its middle segment Oldboy in particular) made an indelible impression on many but Stoker, Park's frighteningly meticulous English-language debut starring Nicole Kidman, Mia Wasikowska and Matthew Goode, will considerably broaden his reach. Read more... |
Sleep TightThursday, 28 February 2013
When Cesar (Luis Tosar) sees Clara (Marta Etura) leave for work in the mornings, he wants to wipe the smile from her face. And as the barely noticed caretaker of her Barcelona apartment building, he’s in the perfect position to do so. Cesar is a strange monster for this psychological thriller from Jaume Balaguero, director of the visceral hit [REC] horror films: a misanthrope so incapable of happiness, he feels others’ laughter like a stab. Read more... |
Broken CityWednesday, 27 February 2013
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? Read more... |
Caesar Must DieTuesday, 26 February 2013
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. Read more... |
Oscars 2013: Day-Lewis 3, Skyfall 1½, MacFarlane 0Monday, 25 February 2013
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. Read more... |
ArbitrageMonday, 25 February 2013
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. Read more... |
To The WonderFriday, 22 February 2013
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. Read more... |
Cloud AtlasThursday, 21 February 2013
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. Read more... |
MamaThursday, 21 February 2013
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. Read more... |
LoreTuesday, 19 February 2013
Brilliantly played by Saskia Rosendahl, the eponymous teenage heroine of Lore (full name, Hannelore) faces a demanding double journey: both the physical slog through end-of-war Germany, a country fallen into chaos, and the more complicated process of acknowledging, like the nation itself, past Nazi complicity. Read more... |
Song for MarionMonday, 18 February 2013
Are films for the senior demographic the new rock’n’roll? As the population ages and people keep their marbles for longer, entertainments for the grey pound, as it’s charmingly called, must be laid on. The job of films like The Last Exotic Marigold Hotel, Quartet and now Song for Marion is to tend towards the cheerful and the redemptive. Read more... |
Madame de...Saturday, 16 February 2013
The great German-born director Max Ophüls admired Goethe, Stendhal, Arthur Schnitzler and Stefan Zweig, and the four films he made in France, following his unfulfilling post-war sojourn in Hollywood, are characterised by supreme literary elegance and wit. Their prime subject is the transient nature of love and the particular sorrow of women. His elaborate tracking shots and bravura pans are brilliantly harnessed to mirror the inexorability with which emotions alter over time. Read more... |
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