Hollywood
Jill Chuah Masters
The second half of Mark Cousins’ documentary on films by women filmmakers starts with religion; it ends with song and dance. This is a second seven-hour journey through cinema. It reconfirms Women Make Film as a remarkable feat of excavation and curation, as its twenty chapters showcase overlooked, excellent work by far-flung filmmakers. Hungarian filmmaker Ildikó Enyedi and Wang Ping, socialist China’s first female director, are featured alongside film-school favourites like Denis and Akerman.The actresses Thandie Newton (pictured below) and Debra Winger are lead narrators now. Their Read more ...
Graham Fuller
A calculatedly nostalgia-infused town-taming Western, 1939's Destry Rides Again out-sparkled Errol Flynn's contemporaneous light “oaters" and anticipated noir-tinged classics like My Darling Clementine (1946) and The Gunfighter (1950). Because it sublimely teamed Marlene Dietrich as worldly dancehall queen Frenchy and James Stewart as pacifist deputy Thomas Jefferson Destry, it is godparent to both Dietrich's crazy Western vehicle Rancho Notorious (1952) and The Man Who Shot Liberty Valance (1962), in which Stewart also played a peace-loving outsider.Destry proves far from the milquetoast Read more ...
Owen Richards
Only those who really love you can deliver the hard truths, and for filmmaker Elizabeth Sankey, that one love is romantic comedies. Better known as one half of band Summer Camp, Sankey is a self-confessed romcom expert, having watched nearly every film from the 80s onwards. It was her happy place, but in this new visual essay on MUBI, she breaks down the huge number of problematic tropes that fill the genre.There are certain rules that nearly every romantic comedy abides by. There are the female-led films, with straight, middle-class, white women defined by their weight and career, until they Read more ...
Demetrios Matheou
Harvey Weinstein is never mentioned in The Assistant, but the former movie mogul and convicted rapist looms large over this savagely relevant drama, which offers a vivid picture of what life might have been like for every one of the employees – male as well as female, victim or no – trapped in Weinstein’s evil little world. Kitty Green’s film could be viewed as the indie counterpart to the recent Bombshell, which was first out of the blocks in the aftermath of #MeToo. Where Bombshell was a glossily-packaged, all-star satire, The Assistant is low-budget, low- Read more ...
Markie Robson-Scott
It’s hard to believe that Jesse Armstrong (Succession, Veep) co-wrote the screenplay for this feeble American remake of Swedish director Ruben Ostlund’s Force Majeure (2014). Where Force Majeure is subtle, dark and original (never have electric toothbrushes seemed so significant) Downhill is an unfunny flop in spite of comedy stars Will Ferrell and Julia Louis-Dreyfus (she’s also a co-producer) as leads.It might have been more successful, perhaps, if directors Nat Faxon and Jim Rash (The Descendants, The Way, Way Back) hadn’t stuck so slavishly to the original storyline about family Read more ...
Matt Wolf
The 92nd Academy Awards saved its surprises for a final stretch that saw Parasite make history as the first foreign language film ever to win the Oscar for Best Picture, pipping to the post the presumptive favourite, the World War One drama 1917 (pictured below). The top prize marked the fourth Oscar of the night for the South Korean success story, following a no less startling director trophy for Bong Joon Ho over 1917’s heavily favoured Sam Mendes, as well as prizes for best original screenplay and best international film.“I will drink until next morning,” Bong remarked to an adoring crowd Read more ...
Graham Fuller
Waking at a pivotal moment in Black Angel, alcoholic songwriter-pianist Marty Blair (Dan Duryea) momentarily mistakes his new professional partner Catherine Bennett (June Vincent) for his estranged wife Mavis Marlowe (Constance Dowling). Each is a radiant blonde singer, but to Marty they are polar opposites: Catherine the madonna, Mavis the whore.The shot that almost merges them indicates that Marty – his Oedipus Complex unresolved – turns every woman he loves into a femme fatale. This isn’t cod Hollywood psychologising but precise Freudianism, and it's deeply disturbing. Mavis is Read more ...
Joseph Walsh
It’s 1968, and Seberg leaves her husband, Romain Gary (Yvan Attal) and son, Alexandre (Gabriel Sky) for an audition in Hollywood. She seems happy to be going. Touching down in LAX she joins a group of black activists, led by Hakim Jamal (Anthony Mackie), and offers up a black power salute. Her intentions are unclear. Is this an act of solidarity in the fight for racial equality or a publicity stunt? It’s hard to tell, but it’s caught the attention of the FBI, and there are far reaching consequences.Rachel Morrison’s crisp, elegant camera work and Jahmin Assa’s lavish production design, add an Read more ...
Demetrios Matheou
Sentient machines have taken over the Earth. The leader of the human rebellion is so effective that a robotic ‘terminator’ is sent back in time to ensure he’s never born. A guardian follows, to ensure he is. We’ve been here before. Even in the unadventurous, market-driven world of sequels, it’s remarkable just how stuck theTerminator films have been in their template, with the same basic premise, the same character dynamics, the same action sequences predicated on the relentlessness of the robot assassins, the same bewildering timeline. However, not all of them have had Sarah Read more ...
Sebastian Scotney
Wisecracks can be profound. The late André Previn – who spent most of the period from his late teens to his mid-thirties working in film studios – once responded to a critic’s snub that the music of Korngold all sounded like Hollywood with the line: “No, Hollywood music all sounds like Korngold.”Last night’s Prom was under the title “The Warner Brothers Story” and its highlights came in works by the two European émigrés Korngold and Max Steiner. The programme showed quite how far-reaching the consequences were of Warner Brothers’ decision in the early 1930s, and at the beginning of the era of Read more ...
Demetrios Matheou
“You know twinkle toes, in another life I bet me and you could’ve done some serious damage.” When Jason Statham’s bad guy turned good finally warmed to Dwayne Johnson’s cartoon-like lawman in Fast & Furious 8, it could well have been a cue for this spin-off focussed on the two bickering beefcakes.It seems a smart call. Once the Fast & Furious franchise swapped its custom car testosterone and faux-Zen philosophy for more extravagant action and tongue-in-cheek banter, it became infinitely more enjoyable. And the rivalry between Statham’s Deckard Shaw and Johnson’s Luke Read more ...
Nick Hasted
Just how many cinematic universes can one planet stand? Gareth Edwards’ 2014 Godzilla and Kong: Skull Island’s Apocalypse Now/ape mash-up suggested there might be useful room for old-school creature features amidst the superhero surfeit. As random, rococo mythology and super-sized spectacle crash frenetically together in Godzilla: King of the Monsters, this third instalment of the ineptly named MonsterVerse is often great fun. But you can sometimes glimpse talented people working furiously to distract you from its sawdust substance.Edwards’ sombre reboot, with Godzilla and co. leaving city- Read more ...