Film
Saskia Baron
For those of us still mourning John Hurt, this lovely HD restoration of the actor’s favourite film is a real joy. Made in 1975 for Thames Television, it’s stood the test of time remarkably well. Funny, moving and often cited as a turning point in British acceptance of homosexuality, The Naked Civil Servant is based on the aphoristic autobiography of Quentin Crisp, who famously described himself as “one of the stately homos of England”. Born Denis Pratt in 1908 into a respectable suburban family, he reinvented himself as the flamboyantly camp Quentin Crisp, rent-boy, artists’ model, Read more ...
graham.rickson
“People think babies are sweet. But this one’s bitter.” So squeaks Alice Lowe’s malevolent unborn daughter in the horror comedy Prevenge, prompting her heavily pregnant host Ruth to embark on a killing spree. Think of it as an unholy blend of Rosemary’s Baby, Sweeney Todd and Kind Hearts and Coronets, as Ruth seeks to murder those who she blames for the death of her lover in a climbing accident.Childbirth should be a celebration of love; here, it’s a very grim business indeed, Ruth’s body being subject to what she describes as a hostile takeover. Prevenge makes a virtue of its limited budget Read more ...
Matt Wolf
From the breathless questions posed at the beginning onwards, My Cousin Rachel charges forward like one of leading man Sam Claflin's fast-galloping steeds. Presumably eager not to let this period potboiler become staid, director Roger Michell swoops in on the characters for close-ups and lets his surging camera duck and dive where it may. The result certainly eclipses whatever memory people may have of the 1952 film of the same Daphne du Maurier novel, which heralded a young Richard Burton in the role Claflin takes here. But after a while, one wants to urge everyone to calm down. It's only a Read more ...
Markie Robson-Scott
“You’re like a drowning man trying to wave at an ocean liner,” says lawyer Philip (Michael Sheen) to his uncle Norman Oppenheimer (Richard Gere as you’ve never seen him before – a revelation). “But I’m a good swimmer,” replies Norman, feverishly making notes on a napkin. Swimming, for Norman, means trying to network his way around New York City’s biggest Jewish names and make a deal. He’s a wannabe macher, a connector, always on the periphery, always on the verge of catastrophe. The Moderate Rise and Tragic Fall of a New York Fixer is the film’s subtitle – a bit of a give-away.From the first Read more ...
Tom Birchenough
Hungarian director Ildikó Enyedi’s 1989 debut feature My 20th Century (Az én XX. Századom) opens on a grandiose scene depicting the first public demonstration of Thomas Edison’s electric light-bulb. We see the wonder of onlookers as they witness the new phenomenon, the brightness of light contrasting with surrounding darkness. The discovery would, in due course, give rise to cinema itself.Enyedi’s film is shot in glorious black and white (by master cinematographer Tibor Máthé, who with the director supervised this luminous HD restoration), and in the course of its complex, non-linear Read more ...
Demetrios Matheou
If one were to stop at the title, My Life as a Courgette – from the French Ma vie de Courgette and unsurprisingly renamed for those insular Americans as My Life As a Zucchini – could be too easily dismissed as a juvenile or childlike frivolity. And that would be to under-estimate this French-Swiss, Oscar-nominated, stop-motion animation, which is one of the more profound, touching and daring family films of recent years.Based on the French novel Autobiography of a Courgette by Gilles Paris, it follows the fortunes of a nine-year-old boy, Icare, nicknamed Courgette by his alcoholic mother, Read more ...
Jasper Rees
The Shepherd – original title El pastor – is a Spanish film which carried all before it at the Raindance Festival. It’s a very Raindance kind of movie. Shot on a low budget with a small cast, a single handheld camera shaking like a leaf, it sticks up for the little guy against a big bad corporate world. And it’s very much the vision of one sensibility: Jonathan Cenzual Burley wrote, shot, directed and produced it. It’s his third film - not bad for someone who only six years ago was a junior research on Never Mind the Buzzcocks.The shepherd of the title is Anselmo (Miguel Martín), a solitary Read more ...
Tom Birchenough
Japanese director Hirokazu Kore-eda is a master of family drama, carrying on the traditions of his illustrious predecessors Yasujiro Ozu and Mikio Naruse. But these are not films of raised voices or open conflict, rather highly nuanced studies of the emotional dynamics between parents and children – differences across the generations – or partners whose relationships have cooled. There’s always a gently melancholic tinge, and Kore-eda has a particular gift for working with his child actors, movingly presenting their point of view on the issues that divide the adults who surround them.In Read more ...
Saskia Baron
Oh dear, writing this review is a bit like being mean to a small cuddly animal. Dough has such very good intentions – characters separated by race, religion and age can find common ground in a bakery – it’s a shame that it doesn’t rise into a tasty loaf but instead remains just a bit wholemeal and stolid. The excellent Jonathan Pryce plays Nat Dayan, an orthodox Jewish widower whose sole reason to get up every morning at four is to work in his beloved shop. He inherited it from his father and still bakes traditional bagels, pastries and challah bread. But the neighbourhood’s Read more ...
Nick Hasted
After Eyes Without a Face, came this. Georges Franju is largely known for the grisly, surreal horror of his second feature, about a mad surgeon grafting stalked young women’s faces onto his disfigured wife. His all but forgotten follow-up, Spotlight On a Murderer (1961), is a breezy lark by comparison. It relocates the Agatha Christie-style country house mystery to a Breton chateau, where a complicated inheritance causes the corrupt de Kerloguen family to revert to murderous type. Its flightiness is tethered by Franju’s elegance and wit, and his mostly young cast’s charm.This could easily be Read more ...
Adam Sweeting
After dipping a toe in the new-look DC Comics universe to brighten the otherwise leaden Batman v Superman, now Gal Gadot’s Wonder Woman gets a chance to shine in her own Hollywood movie. Gadot makes a pretty fine job of it too, bringing a bit of soul and empathy to the proceedings, but sometimes it’s more despite than because of the production surrounding her.Even in this rationality-defying context, WW’s origin story is one of the more implausible. She was raised by the Amazon women on the island of Themyscira by her mother, Hippolyta (Connie Nielsen, pictured below), with plenty of help in Read more ...
Nick Hasted
David Lynch’s Hollywood horror film is casually stripped here of what seemed fathomless mystery back in 2001. Former Cahiers du Cinema editor Thierry Jousse kicks off a packed extras disc by using Lynch’s 10 clues on the original DVD case to easily decode its otherwise utterly disorienting last 30 minutes. The relationship between Betty (Naomi Watts), a perkily indomitable blonde actress from Deep River, Ontario, statuesque brunette amnesiac Rita (Laura Harring) and their seedier inversions of those characters in the final reel becomes almost mundane, when viewed through Jousse’s prism. Read more ...