Film
Tom Birchenough
Hungarian director Ildiko Enyedi’s On Body and Soul (Testrol es lelekrol) opens on a scene of cold. It’s beautiful, a winter forest landscape, deserted except for two deer: a huge stag and a small doe react to one another in the snow, a tentative interaction of eyes and noses, nothing more. There’s a tenderness to what we see, the vulnerability of the female set against the power of the antlered male, but also a sense of somehow icy withdrawal.Enyedi is too subtle a director to treat this opening scene as a metaphor for what follows, the human dimension of her film, although its story is Read more ...
Saskia Baron
Oh dear. I thought that this was going to be one of those exciting fantasy films that livened up TV on weekend afternoons in my childhood, and that there would be kitschy special effects and ludicrous dialogue. But no, it's not 20,00 Leagues under the Sea, The Seventh Voyage of Sinbad or even Dr Doolittle. It's a turgid plough through a Jules Verne yarn which doesn't even introduce a freaky creature until almost 50 minutes into the storyline, and then it's just some poor old lizards matted into a drab seaside set. Journey to the Centre of the Earth frankly doesn't deserve the full Read more ...
Matt Wolf
A spate of tennis-themed films gets off to a vivid if incomplete start with Borg/McEnroe, which recreates the run-up to the Wimbledon Men's Final in 1980 with often-thrilling clarity and (as much as is possible for those who will of course recall the outcome) suspense. Where Danish director Janus Metz drops the ball is with a script that doesn't keep pace with the innate energy of the subject matter.Indeed, I wasn't at all surprised to learn that this film in Björn Borg's native Sweden is being marketed on the strength of his surname alone, leaving McEnroe to fend for himself, much as Read more ...
Adam Sweeting
Take one off-the-wall spoof spy thriller that becomes an unexpected hit. Add a bunch of gratuitous guest stars (mostly American). Stretch formula to 140 minutes. Stand clear and wait for the box office stampede.This seems to have been the recipe for this follow-up to 2015’s Kingsman: The Secret Service, likewise helmed by Matthew Vaughn, who once again wrote the screenplay with Jane Goldman. Sadly, much of what made the first film work has vanished this time around. Despite having apparently died in the first one, Colin Firth is back as Harry Hart, but his aura of fastidiously hand-tailored Read more ...
Tom Birchenough
A decade after his masterpiece, The Tree of Wooden Clogs, won the 1978 Palme d’Or at Cannes, Italian director Ermanno Olmi took Venice’s 1988 Golden Lion for The Legend of the Holy Drinker (La leggenda del santo bevitore). Festival victories aside, at first sight the two films could hardly seem more different.In the second film Olmi moved into distinctly new territory for him: Legend was an adaptation (of the 1939 novella by the Austrian writer Joseph Roth), featured professional actors (Rutger Hauer in the lead role), was made in English, and counts as a fable, very different in style from Read more ...
Nick Hasted
Breathing through an oxygen mask with a busted diaphragm and rib after shooting a single scene in mother!, Jennifer Lawrence had rarely suffered more for her art. Nor have we. Darren Aronofsky's latest begins as an enjoyably enigmatic, Polanskiesque waking nightmare, as the Mother (Lawrence) and her beloved Poet (Javier Bardem) find creepy strangers barging into their happy home. It ends in ineffectual, flailing chaos.The blurring of mythic dreams with supposed reality begins in the first minutes, as a fire-razed mansion reconstitutes itself around Lawrence as she sleeps. Big close-ups and Read more ...
Matt Wolf
The charm quickly palls in Victoria and Abdul, a watery sequel of sorts to Mrs Brown that salvages what lustre it can from its octogenarian star, the indefatigable Judi Dench. Illuminating a little-known friendship between Queen Victoria in her waning years and the Indian servant, Abdul Karim (Ali Fazal), whom she invited into her inner sanctum, the busy Stephen Frears and his screenwriter Lee Hall could use considerably more of the incisiveness and wit that made Frears's similarly royalty-minded The Queen soar. Instead, we get a characteristically deft character portrait from Dench Read more ...
graham.rickson
Describe the plot of My Life as a Courgette to someone who’s not been lucky enough to see it and they'll find it hard to understand how a film with such a bleak premise can be so funny and emotionally involving. Swiss director Claude Barras’s magical little animation is an extraordinary thing, and a miracle of concise, clear storytelling.Based on a French children's novel, it tells the story of nine-year old Icare. Nicknamed "Courgette", he’s living in a children's home after inadvertently causing the death of his alcoholic mother. The brutal details of why he's sent there aren't dodged by Read more ...
Saskia Baron
Hot on the heels of his furiously original sci-fi noir, Kiss Me Deadly, Robert Aldrich cranked out this film adaptation of Clifford Odets’s tortured play about tortured artists in venal Hollywood. The Big Knife doesn’t wholly escape its stage origins – most of the action takes place in one Bel Air living room – but Aldrich makes the most of his camera angles and wrings considerable dynamic energy from his cast.Jack Palance plays Charlie Castle, a charismatic movie star living a life of luxury. We meet him boxing in the back yard of his palatial Read more ...
Tom Birchenough
It doesn’t take long, I think, to work out the associations of the title of Insyriated: we are surely being presented with a variation of “incarceration”, one tinged by the very specific context of the conflict that has ravaged Syria for six years now. But there’s a certain ambiguity at the centre of Belgian director Philippe Van Leeuw’s film about a Damascus family confined in their apartment as civil war goes on around them – they have not been literally locked up by anyone, rather their temporary self-confinement, presided over and enforced by the powerful matriarch Oum Yazan (Hiam Abbass Read more ...
Marina Vaizey
James Scott’s filmography is wide-ranging, including the 1982 short film A Shocking Accident, based on the Graham Greene story, which won an Academy Award the following year, and other works on social questions. But these documentaries, several supported or commissioned by the Arts Council, concentrate on the visual arts.The longest, Every Picture Tells a Story, is a 1983 biopic based on the early life of his northern Irish father, William Scott (1913-1989) who moved from Scotland to Enniskillen as a teenager, studied art in Belfast, then went on to London and a vastly successful career. The Read more ...
Nick Hasted
Stephen King’s IT attempted ultimate terror, cutting far deeper than a killer clown. It idealised childhood friendships and their adult honouring even as one of those kids was forced to eat shit by sadistic bullies, and their idyllic small-town of Derry had a stream of child-killing evil running through its sewers. Andy Muschietti’s elegantly crafted adaptation – the first part of two – does King’s achievement superficial justice, while rarely causing nightmares of its own.Its opening scene is one exception, as 12-year-old Bill (Jaden Lieberher, pictured below third right) sends his adoring 7 Read more ...