Dir: Avelina Prat | Drama 2025

Avelina Prat’s charmingly old-fashioned film about getting lost, starting again — and borrowing someone else’s life

There is something rather lovely about The Portuguese House. In an age when films often seem obliged to shout, explain and keep us permanently entertained, Avelina Prat has made something almost unfashionably gentle: a perceptive film about loneliness, friendship, deception. It is also, refreshingly, in no particular hurry.

Co-written and directed by Prat, the film begins with Fernando, a geography professor whose wife abruptly leaves him without explanation. Faced with the sort of mid-life existential crisis that usually produces either a road movie or a very expensive therapist, Fernando chooses Portugal. On the journey he encounters Manuel, an itinerant gardener with his own destination. When Manuel unexpectedly dies of a heart attack, Fernando does something that is both morally dubious and narratively irresistible: he takes his identity and carries on to the Portuguese house Manuel was heading for.

From here, The Portuguese House settles into its curious, quietly seductive rhythm. Fernando becomes an accidental intruder in somebody else’s world, and the deception gives him the opportunity to become a slightly different version of himself.

It is classic storytelling in the best sense. There is a house with secrets, strangers arriving from elsewhere, unexplained absences, gardens, long conversations and people whose pasts gradually emerge over dinner or across a table. The film feels as though it might have wandered in from another, slower period of European cinema — somewhere between a literary adaptation and a classic summer drama — and is none the worse for it.

Part of the enjoyment here is its refusal to behave like a contemporary film. Prat trusts silence. She lets people talk. She allows a landscape to exist without somebody having to explain its symbolic significance. And when two characters look at each other, we are allowed to wonder what they are thinking rather than being immediately supplied with the answer.

Manolo Solo is excellent as Fernando, playing him with an appealing mixture of bewilderment, melancholy and dry humour. His performance makes the character’s unlikely transformation surprisingly convincing. He isn’t suddenly reinvented; rather, the shock of being nobody in particular seems to loosen something that had become stuck.

Maria de Medeiros brings an equally attractive ambiguity to the film. Their developing relationship is handled with considerable intelligence. Is it friendship? Romance? Mutual rescue? Perhaps it doesn’t matter. Prat is interested in the intimacy that can grow between people who have no predetermined reason to be in each other’s lives.

There is humour here, too, although it is the kind that slips in rather than announces itself. Fernando’s predicament is faintly absurd — imagine discovering that the best way to escape your own life is to pretend to be a dead man — but the film never mocks its characters. Its affection for human foolishness is one of its charms.

The Portuguese setting helps enormously. The house and its gardens have the slightly enchanted quality of places in classic cinema where people arrive carrying one story and leave with another. The film makes excellent use of the contrast between Fernando’s unsettled state and the physical solidity of this new environment.

Not everything works quite as effortlessly. The film’s leisurely pace and refusal to spell everything out will maybe not appeal so much to audiences accustomed to faster-moving dramas, while some of its narrative turns have the pleasingly improbable quality of a story told rather than a life observed. But that is part of its character. The Portuguese House isn’t trying to be gritty realism. It belongs to a tradition of cinema in which coincidence is allowed to intervene, houses contain mysteries and strangers can still change your life.

So this old European style and gentle optimism feels earned rather than contrived. This is a film about people who have lost something — a marriage, a sense of purpose, a familiar identity — discovering that loss can also create an opening. There are worse things, after all, than getting lost in Portugal.

IN CINEMAS FROM 2 October 2026

Dirs; Olivier Nakache and Eric Toledano | France 119′

Camille Cottin and Louis Garrel star in this 1980s comedy crowd-pleaser from directing duo Olivier Nakache and Eric Toledano (best known for Untouchable (2012) one of the most successful film in the French language across Europe and, of all time, in Germany).

Just an Illusion is unlikely to garner that accolade but it nevertheless exudes the same breezy charm and positivity. Here the human struggle is outwardly less obvious but understanble for Vincent Dayan, a 12 year old Jewish boy, who navigates life between his truculent older brother and his volatile parents: Yves  (Garrel) and Sandrine (Cottin). Originally from the Magreb, they have spent most of their lives in France, and now occupy a small flat on the outskirts of Paris, where Yves has just lost his job.

Just An Illusion never takes itself too seriously, there are highs and lows as the  drama unfolds in a series of incidents, rather than a recognisable plot, but the charismatic  performances from Cottin and Garrel and particularly Simon Boublil, as Vincent, add texture and emotional weight to what otherwise would just be another  domestic drama, and this, along with the tunes, makes it all the more watchable.

Music-wise the film leans heavily on a mix of original score and recognisable tracks of the era, including Imagination’s titular hit ‘Just an Illusion’, but also ‘Georgy Porgy’ from Toto, ‘Eye in the Sky’ from The Alan Parsons Project, among others. These songs aren’t just background—they actively drive the narrative forward adding resonance to each sequence. There’s a natural fit between the often dreamy, slightly melancholic tone of the music and the story of adolescence, confusion, and emotional discovery.

So humour tinged with poignancy is very much the order of the day. Despite Vincent’s feeling of awkwardness in growing up: the small but intense emotions, the sense that everything matters even when you don’t fully understand why, always seem to come with a sense of endearing warmth, amusement even.

Just An Illusion is gentle rather than confrontational, touching on family tension, arguments and identity, but rarely pushing those conflicts too far, the music somehow smoothing-out any friction, and that makes it all the more enjoyable. A likeable film, then, with a distinct emotional texture and and a definite nostalgia for the era.

NOW IN FRENCH CINEMAS

Dir: David Frankel | Cast: Meryl Streep, Anne Hathaway, Emily Blunt, Stanley Tucci, Justin Theroux | US Drama 119′

The Devil Wears Prada was never really about fashion. The outfits, handbags, and implausible beauty standards were only the guise for a biting satire about power and ambition. The original film was iconic for that reason. What emerges in this latest version, with its updated script, is that glamour only becomes interesting when it costs someone something.

The Devil Wears Prada 2, approaches the same world from a completely different emotional angle. Instead of examining the seduction of success, the focus here is the fear of becoming irrelevant. The result is a film that is more mature, more reflective, and occasionally more emotionally honest — but also less dangerous, and less enjoyable as a result.

Twenty years ago David Frankel’s original fizzed with the energy of discovery. Andy Sachs entered the fashion industry as an outsider, and the audience learned its rules alongside her. Every transformation carried tension because we could see exactly what she was sacrificing to survive in Miranda Priestly’s orbit.

Frankel’s sequel abandons that outsider perspective. Andy is no longer intimidated by the fashion machine; she has become part of it. That single change fundamentally alters the tone. There is no longer a collision between ordinary life and elite culture, here everyone already speaks the language of ‘prestige’.

The smartest thing about this latest outing is that it makes fashion itself feel unstable. Miranda is still intimidating, but the world no longer bends around magazine editors the way it did in 2006 (with people like Anna Wintour who inspired fear).

Print media has weakened, luxury branding has become algorithmic, and influence now belongs as much to social media personalities as to editors in couture offices. The film understands this cultural shift and uses it as the core of its conflict. Miranda is not fighting Andy this time; she is struggling to be noticed, and this gives the sequel a more melancholic tone.

The original film was acerbic and ruthless: all about humiliation and sharp reversals of power. Ironically TDWP 2 moves at a more leisurely pace, and conversations linger. There’s a maturity at play amongst the characters and a softer attitude – in short, it lacks the bite that made the original feel nastier. 

Meryl Streep is on top form with a more subtle performance, a more humane, almost sentimental take on life – but there are cracks in her facade that expose an awareness of her infallibility. Emily Blunt (as Emily Charlton) has matured and totally ‘gets’ the modern luxury culture, so emerges a more confident, almost sardonic, character taking over Miranda’s mantel as the most intimidating member of the team. Anne Hathaway’s Andy is more complex yet also more grounded, observing the action from a distance. 

Two decades later New York has naturally changed as a city. Visually, the sequel makes the capital into a more polished, slick and refined fashion centre but now the characters feel less authentic as real people and more like models inhabiting a glossy fashion campaign; and while this is clearly intentional is also makes everything feel more remote. The original was certainly crueller, but this updated take acknowledges broader body representation, and that makes it ultimately more toned down, taking away the scathing, sarcastic edge that made the original so addictive and daring for its fanbase.

There’s attempt to hark back to 2006 – scenes often feel designed to remind audiences why they loved the original: repeated phrases, mirrored compositions, and nostalgic callbacks. There’s a sense that this new adaptation wants to garner the same power and success of the original while tempering it with contemporary sensibilities: You can’t have it both ways – so naturally this becomes a pale rider alongside the sharper, funnier and more culturally disruptive original outing. 

What ultimately separates the two films is their relationship with ambition. The original argued that success can quietly consume your identity before you notice what you have lost. The sequel asks a different question: what happens after you achieve the life you once wanted, and discover the world has already moved on? That is a more reflective theme, but it is not as dramatically immediate.

IN FRENCH and UK CINEMAS FROM 29 April 2026

Dir: Paola Cortellesi | Cast: Paola Cortellesi, Valerio Mastandrea, Romana Maggiora Vergano, Emanuela Fanelli | Italy 118mins

A downtrodden Roman housewife turns her life around in this 1940s tale of female empowerment from first time director Paola Cortellesi who also stars in her multi-award-winning first feature.

In Neo-realist black and white Cortellesi plays a modern day Anna Magnani in a stylish domestic melodrama with a relevant political message that sees Delia (Cortellesi) living in Rome just as Italy is getting back on its feet after the Second World War. American GIs are still patrolling the streets but the winds of change are blowing through the open air markets where the long-suffering wife and mother does her daily shopping often queuing for ages to feed and care for her boorish father-in-law, three children and controlling macho husband Ivano (Valerio Mastrandrea) – who greets her with a slap in the face when she wishes him ‘good morning’ in the opening scene.

Delia tiptoes around her family always being the martyr by putting them first and ignoring her own needs while life is passing her by due to the patriarchal society of the day where women appear to carry the weight of domestic responsibilities and have no agency. Cortellesi puts this all down to the Fascist regime. And the future looks more or less the same for the next generation in the shape of Marcella, her teenage daughter ((Romana Maggiora Vergano), who is not destined for a career but a good marriage: her middle-class boyfriend Giulio (Francesco Centorame) could fit the bill. Meanwhile Delia is thankful for small mercies such as sharing a bar of American chocolate with her old flame Nino (Vinicio Marchioni) – the two of them smile to reveal stained teeth, reflecting the film’s dark slick of humour and addressing the poor state of the Italian postwar health service. Delia knows that change can only come if she puts her mind to it.

This is a stylish if slightly uneven crowd-pleaser which will go down well particularly with female audiences, and the cleverly contrived finale shows Cortellesi to be a filmmaker with panache and a rare talent for storytelling. @MeredithTaylor

NOW ON RELEASE IN FRANCE/BELGIUM | IN UK/IRELAND 26 APRIL 2024

Dir/Wri: Alex Garland | Cast: Nick Offerman, Kirsten Dunst, Wagner Moura, Jesse Plemons, Jefferson White, Cailee Spaeny | US Drama 109′

Civil War provides UK filmmaker Alex Garland with an expanded American canvas on which to explore themes and ideas of his four earlier, more intimate, British films. This new UK/USA co-production follows the journey of a quartet of media journalists racing against time in a 4-wheel vehicle as they travel from New York through Pennsylvania onto Washington DC to record a make-or-break address to the nation by a beleaguered President of the USA. The journey itself is no joy ride as the American landscape has been ripped apart by warring communities that has paralysed the White House at the heart of American politics.

In one chilling sequence, the journalists remind a menacing ginger henchman with red glasses (played by Jesse Plemons) that ‘We’re Americans, ok?’ to which they get the reply ‘What kind of American are you?’. In another scene, Kirsten Dunst, as a world-weary war photographer journalist (named after Lee Miller the WW2 war photographer), has become the reluctant mentor for a young woman (Cailee Spaeny) who is hungry for experience without comprehending how bloody and awful is the reality of war. The older war photographer mentions she has covered the horrors of war thinking that this would be a warning to others not do so again, although she knows now that this is not the case.

In another of the most tender and telling scenes in the film, the photographer agonises over the decision to delete or retain what may be a beautiful image but also one which may exploit the death of a man she has befriended. It is in scenes like this that Garland raises moral dilemmas between what the human eye can see and the camera lens records that is at the heart of photography and the subject of Haskell Wexler’s 1968 film Medium Cool. The film also suggests the spectre of Susan Sontag’s devastating essay Regarding the Pain of Others (2003). It is within the skill of Garland’s writing that themes questioning politics, media and society can be found beneath the surface of a film fundamentally built on images linked to a physically fast flowing narrative.

Garland is added by a production team from earlier films and Rob Hardy’s use of a new small light camera (DJI Ronin 4d) is able to keep the action stable when viewed on both IMAX and smaller screens. Fast-moving action sequences benefit from off-screen input of an experienced ex-Navy Seal adding authenticity to the film’s vivid sense of physical movement with Glenn Fremantle’s soundtrack combining lush chords of stereophonic music with soundscapes. The performances are skilful and reveal the director’s sensitive understanding of women in largely maledefined environments. Kirsten Dunst brings depth to the role of the mature photographer/journalist just as much Garland centred earlier films around female characters with the sensitive performances of Alicia Vikander in Ex Machina, Natalie Portman in Annihilation, Sonoya Mizuno in Deus and Jessie Buckley in possibly his most personal and misunderstood film Men.

Civil War also fits very well alongside outsider filmmakers who have observed America at a not so cool distance and is comparable with American films made by Europeans such as Jacques Demy and Agnes Varda. The film that Civil War most echoes may well be the Italian director Antonioni and his daring and ground breaking critique of America in Zabriskie Point from 1969. Civil War contains similar cinema-verité images of protest between civilians /students and military police/guards suggesting that nothing much has changed since the revolution of 1968. The UK-based filmmaker also captures images of the decay of former glories of communities crystallised by beautiful images of a damaged circus clown model, neglected rural landscapes and characters who are framed or towered over by the glass and concrete of American architecture.

Just as Antonioni questioned the breakdown of society and consumerism in 1968 there is also rich and potent post COVID/ Capitol Hill riot material here for Garland in 2024 with both films involving a journey heading towards apocalyptic finales. Civil War tackles the meltdown and threat to order by the divisive behaviour of people that is accelerated by politicians and speculates on the current fear that America is drifting towards a kind of anocracy, existing somewhere between democracy and autocracy. If Garland’s earlier films derived from intimate, dystopian and out-of-body time zone experiences his latest could be viewed as the nightmare of what becomes of paradise as envisaged by the youthful ‘trippy hippy’ but now older protagonists of Garland’s breakthrough 1996 novel The Beach.

Civil War may have rough edges linked in places to the ambitious script, although it remains a remarkable contemporary outing revealing a sensitive director with the ability to harness vivid images of death and violence from acts of warfare. @PeterHerbert

https://www.peterherbert.online

https://theartsproject1.wixsite.com/theartsproject

CIVIL WAR on release from 12 April 2024 | PREMIER IMAX London on 19/3/24 with an introduction from Alex Garland

Dir: Kate Stonehill | UK Doc

Digital surveillance is all part of being in the internet age and we go along with it while not being entirely at ease at being spied upon against our will. It’s just one of the downsides of modern life. We share the info, others use it to their own advantage.

Kate Stonehill’s documentary explores a far more sinister form of surveillance. It focuses on our mobile ‘phone use via a new state programme nicknamed “Phantom Parrot” that allows the government to plot our whereabouts at any given moment through our active handheld devices. With the nation’s increased exposure to nefarious elements at UK ports (sea, air or rail) the police have been given enhanced search powers under the 2000 Terrorism Act, and this allows them to crack down on suspects, at will, demanding PIN codes and passwords across all their devices and the further power to confine them to three months in prison, if deemed appropriate.

In 2016, Muhammad Rabbani, a director of Cage, an organisation that campaigns on behalf of Muslims held under war-on-terror laws, came under police suspicion under Schedule 7 of the 2000 Terrorism Act when he travelled back to the UK from Qatar. And he was not the only one stopped. Much the same as your luggage  being randomly rifflled through when airport security staff get bored, it’s a similar situation. And nobody likes it but that’s the deal. For some unknown reason Rabbani was subject to a random check at border control and when he refused to comply with police protocol he found himself in court and threatened with prison.

Stonehill became fascinated with his case and decided to make this film with a view to ‘making the invisible world visible’. Luckily for Rabbani, Gareth Pearce, a human-rights lawyer came to his rescue. I, for one, am  glad the police are patrolling our borders. That’s what they’re paid and trained to do and we rely on them to keep us safe. @MeredithTaylor

Phantom Parrot is in UK cinemas from 15 March

Dir: Brigitte Sy | Cast: Damien Bonnard, Laetitia Casta, Beatrice Dalle | France, Drama 97′

Another example of how good actors don’t make a decent film is this  limp effort to infuse a dreary sink estate drama with romance – French style. 

A warmed-up version of Henri Fabiano’s 1961 classic it stars Damien Bonnard and Laëtitia Casta who certainly create a moody head of steam as the doomed lovers Claude and Sophie at the film’s core. Both losers, he soon ends up in prison leaving her, an abused single mum, with another bun in the oven. Quelle surprise!

There are artful touches in Daniel Bevan’s production design and Frederic Serve has fun with his lenses but the narrative – which may have been shocking back in the day – is now as tired as a Sixties council block, and not even veteran actress Beatrice Dalle, as Claude’s gutsy mother, can tart it up to be anything memorable.@MeredithTaylor

NOW ON RELEASE IN FRANCE AND BELGIUM

Dir: Matthew Vaughn | UK Thriller 139′

Pirandello meets Philip K. Dick in this disarming piece of escapism that starts out seeming to be an ultra-glossy piece of escapist hokum but swiftly changes tack when it transfers its attention to charmingly buxom Bryce Dallas Howard as an author caught up a plot so outlandish you keep wondering if the Vaughn and his scripter Jason Fuchs are going to make it all a dream to bring it to a resolution.

The film is full of surprises (such the identity of the actor briefly seen playing her boss which early on drew from the audience the first of many doubtless intentional laughs). Vaughn displays the style and aptitude for pacing already amply evident in Layer Cake, Kingman: The Secret Service, Rocketman and Kick-Ass and creates vivid colour effects all the more effective for being sparingly employed.

Sam Rockwell makes a personable hero, but the most memorable cast member is probably Vaughan’s own cat; a strange-looking moggy seemingly unfazed by the bizarre events going on around him. @RichardChatten

IN CINEMAS IN FRANCE and the UK

Dir: Yvan Attal | Cast: Guillaume Cannet, Yvan Attal, Victor Belmondo, Maiwenn, Alma Jodorowsky, Marie-France Crozes | France, Thriller 85′

This thrilling little romantic melodrama set in Brazil, Paris and the Cote d’Azur sees two Frenchmen committed to lifelong friendship after one saves the other’s life.

Guillaume Cannet is Vincent an intrepid businessman who steps into the brink when his chum Mathieu, falls victim to a break-in at the home he shares with Juliette (Crozes) in a chic part of Paris.

Happily married to Delphine (Maiwenn) Vincent loves playing the field and Mathieu (who real life partner is Charlotte Gainsburg) is only too ready to cover for him given his past loyalty until he too falls prey to the charms of Elsa (Jodorowsky), one of Vincent’s lovers. Dark clouds soon gather over their gilded lifestyle when Elsa is found dead in a perfect storm of coincidences.

Yvan Attal, who writes, directs and stars as Mathieu, certainly knows how to create atmosphere and tension with all the classic noirish elements at his disposal including a clever plot, a solid French cast and a sweeping romantic score that spells danger. Attal has a rare gift of exuding sexiness, decency and stability, so we’re on his side all the way through.

Soigne and elegantly styled, Un coup de dès is the perfect B film to curl up with, and even better on the big screen with its lavish imagery and gorgeous settings. Wish there were more of these sophisticated yet effective modern thrillers aimed at middle-aged people who still fall in love and probably shop at Waitrose (French equivalent E.Leclerc). @MeredithTaylor

NOW ON RELEASE IN FRANCE

Dir/Wri: MIchael Winterbottom | Cast: Irina Starshenbaum, Harry Melling, Douglas Booth, Gal Mizrav, Ian Hart, Aury Alby, Ofer Seker, Liudmyla Vasylieva | Wris: Michael Winterbottom, Laurence Coriat, Paul Viragh | 119 mins

Prolific English filmmaker Michael Winterbottom goes into thriller mode for his latest outing, 15 years years in the making, and set amidst the political movers and shakers in the run-up to Israel’s founding as a state. Palestine is still under the colonial rule of the British and this provided a favourable climate for Jews escaping from the Nazi clutches of Hitler.  

Inspired by real invents, the focus is journalist Shoshana Borochov (a feisty Irina Starshenbaum) the daughter of a Russian Socialist Zionist who held sway back in the day. Shoshana is a member of a paramilitary Zionist force and has inherited her father’s spirit as she deftly navigates the social milieu of the great and the good while working for a Hebrew-language paper, She also gives us a historical context in voiceover.

Naturally this influx of Jews gives rise to tensions amongst the existing Arab community. There are two Zionist organisations in particular – the Haganah, the paramilitary Zionist force to which Shoshana belongs, and the Irgun, a hard-core Zionist organisation focused on flushing out Arabs from the territory.

Soshana soon falls for English police officer Tom Wilkin (Douglas Booth), who is working alongside his colleague Geoffrey Morton (Melling) to capture the leader of the Irgun, Avraham Stern (Aury Alby), in order to shut it down. Morton also shares a frisson with Shoshana. Tel Aviv is a modern city complete with its new (at the time) Bauhaus buildings (although filming took place in southern Italy). Anyone who knows Tel Aviv will also appreciate what a closely-knit society it is with its social and business connections. And so Stern and Shoshana soon finds themselves connected through their many contacts.

This is an elegantly kitted-out political thriller with plenty of action between the sheets. There’s nothing like a man in a uniform – or a woman – in a uniform and silk negligee. Shoshana is also testament to the fact that nothing has really changed in the Middle East or in Europe for that matter (apart from the ‘elephant in the room’ that is Brexit). An enjoyable classically style romp that explores the way extremism and violence can force a wedge between people, forcing them to choose sides. @MeredithTaylor

IN UK CINEMAS FROM FRIDAY

Dir: Martin Bourboulon | France, Adventure drama 115′

The second part of this spectacular sortie with our four French Musketeers opens in 1627 and this time puts Milady at the centre of the swashbuckling, bodice-ripping epic originally penned by Alexandre Dumas.

Once again Martin Bourboulon directs a script by Matthieu Delaporte and Alexandre de la Patellière. There is a brief catch-up with Part I in the opening scenes and the emphasis here is on mood and manoeuvres rather than an involving and memorable storyline – not helped by the break between films. Refer to the novel if you want a more involving experience, although the our hot heroes certainly make for this enjoyable to watch.

Eva Green is mistressful as Milady de Winter, a fictional character who features in the later part of Alexandre Dumas’ original novel. But there’s nothing timid about this tumultuous temptress who is the hired assassin of Cardinal Richelieu. In the first part we saw her throw herself from a clifftop but she survived to tell the tale and is not going to give up without a fight in seducing the sultry and tousled hair D’Artagnan – and who could blame her – but he is desperate to defend a pouty paramour of his own in the shape of Constance Bonacieux (Lyna Khoudri).

Once again England is the enemy and Milady is plotting to engage France in a complex war aimed at ridding the country of King Louis XIII (Louis Garrel really looks the part with his wig and moustache). This is cloak and dagger stuff and involves plenty of sword fights with D’Artagnan (François Civil), Athos (Vincent Cassel), Porthos (Pio Marmaï) and Aramis (Romain Duris complete with eyeliner) all pulling out all the stops. There is a surprise in store for Athos who has his own romantic issues to tackle but he’s keeping his powder dry in this eventful capitulation to Part I.

Eva Green makes for a mysterious Milady. Smirking and smouldering seductively she joins a long list of actresses who have played the character on screen. Most notable are Barbara La Marr alongside Douglas Fairbanks in Fred Niblo’s 1921 production. Lana Turner vyed with Gene Kelly in George Sidney’s 1948 drama; Faye Dunaway had two goes at the role in the early seventies with a starry cast of Oliver Reed, Raquel Welch and Christopher Lee. French actress Emmanuelle Beart featured in a TV mini series in 2005, and Mila Jovovitch played her in Paul W S Anderson’s  2011 epic which was not deemed as success. @MeredithTaylor

From 15 December in French K and Irish cinemas.

Dir: Simon Ross | Cast: Natalia Córdova-Buckley, Ryan Kwanten, Virginia Madsen, Mark-Paul Gosselaar | US Thriller 

There’s an unnerving power behind Simon Ross’s feature debut – a Dorian Gray style psychodrama involving a damaged man and his wife who seems to be suffering from a syndrome called pathological grief. The Portrait is shrouded in secrets and unreliable memories but the characters feel cliched and bogus and never really make us care enough to uncover the truth. And that’s possibly the point: It appears that reality is a moveable feast in this saturnine mood piece, written and produced by David Griffiths (of Collateral Damage fame). 

After Alex (Ryan Kwanten) suffers life-changing injuries in a devastating accident his capable wife Sofia (Natalia Córdova-Buckley) becomes full time carer to her vicious catatonic husband. In the attic of their palatial Californian villa she uncovers a disarming painting, purportedly a self-portrait, of Alex’s great-grandfather Calvin – a dead ringer for her objectionable hubby. The sinister painting certainly spooks Sofia out and comes alive in nifty jumps scares. Maybe Sofia is just imagining all this – or is buried guilt surfacing from her subconscious?.

Two morose blond women then enter the fray attempting to flesh out the family backstory. They are Basic Instinct style lovers Esther and Mags (Virginia Madsen), a distant cousin of Alex. Virginia Madsen is a good actress but Mags is not her finest hour. And this is where The Portrait starts to feel less plausible and more flimsy as is edges into the realms of kitsch fantasy. 

With her impenetrable screen magnetism (and back muscles Mike Tyson would be proud of) Sofia holds it all together against the odds. But our credibility of her doting acceptance of the violent catatonic beast she has to put up with is stretched to breaking point, and that’s probably why she reaches out to the troubled gardener Brookes (Mark-Paul Gosselaar), a strong silent type who is also harbouring a weird secret under his overalls. The two have a brief liaison after Sofia invites him into the house for emotional support: “I’ve got vodka”. 

As a sinister soundtrack weighs down on us we gradually realise that Sofia is also hiding a secret that explains Alex’s attitude, and why his love and gentleness for his wife has somehow morphed into brutality. This enigma gives the film a driving force and an undeniable allure, powering it forward to a fierce finale. The Portrait is an interesting study in the timely  ‘war of narratives’. @MeredithTaylor

The Portrait is available on digital platforms from 11 December.

Dir/Wri: Leo Leigh | Cast: Maggie O’Neill, Tony Pitts, Harry Trevaldwyn, Anthony Adjekum, Anna Calder-Marshall, James Dryden | UK Comedy Drama 99′

After a shaky start with Loony in the Woods and his short documentary Fact of Fiction: The Life and Times of a Ping Pong Hustler, Leo Leigh, Alison Steadman and Mike Leigh, finally finds his feet with this confident comedy drama.

Sweet Sue makes for an amusing feature debut capturing the sardonic resentment of a bereaved English family with the same signature brand of snarky deadpan humour of his parents.

Of course Sue, a sparky Maggie O’Neill, is anything but sweet: and we soon realise why, but that’s all part of the irony. The film opens with another dating disappointment for Sue, a fifty-something singleton, whose has just been stood up in the local pub. Meanwhile, in the now familiar setting of a care home her younger brother, Pete, is in the final stages of an undignified death, comforted by his wife, (Hannah Walters) who clearly resents Sue’s continued lack of input in the matter. The two of them bicker bedside while Pete gobs uncontrollably into a tissue. The next scene sees his funeral cortege pulling out of a driveway with a ghastly floral tribute of pastel chrysanthemums bearing the name ‘Pete’ adorning the hearse. The petty bickering flares up later in the pub – this ‘close family’ is clearly far from close, Sue’s mum chunters away under her breath, and Pete’s widow once again bemoans Sue’s lack of support. Breaking away from the morose duo Sue strikes up a conversion at the bar with a tight-lipped, leather-clad biker who introduces himself as Ron. The two promptly leave, Sue preparing to ride pillion with her potential paramour, Pete’s widow objecting loudly as the two make off

The story proceeds along similar lines as we get to know them all better, Sue is assertively bubbly while Ron remains locked in his monosyllabic old-school masculinity. Anthony, his rather narcissistic son, is a thoroughly modern character, and Trevaldwyn certainly plays up his personality traits to perfection. Ron, by his very nature, remains the most enigmatic character here, and we are left wondering whether Sue will make a go of things this time: there’s clearly a sexual frisson despite their chalk and cheese differences. Sweet Sue maybe not be groundbreaking narrative wise but it certainly has a ring of truth for those familiar with the dysfunctional family territory. @MeredithTaylor

IN UK AND IRISH CINEMAS from 22 December 2023

Dir: Ridley Scott | Cast: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Rupert Everett, Paul Rees, Ben Miles, Ludivine Sagnier, Edouard Philipponnat | UK Drama 158′

Napoleon is a rather gloomy epic that mourns its French hero in misty landscapes, robust parliamentary debates, bloody battle scenes and sorrowful domestic settings where a doomed love story plays out amid gilded trophies and treasures.

Ridley Scott creates a sprawling two and a half hour feature that is more impressive than involving although Phoenix is compelling throughout as a flawed hero and likeable rogue, despite his American delivery: a soulful and mercurial figure whose private life never quite attains the glorious success of his strategic prowess as French military leader and emperor in various campaigns. Most notable is the Siege of Toulon, where he captures the port city from the English in the film’s opening stages, to his most significant triumph at the battle of Austerlitz with its atmospheric widescreen images of soldiers and horses plunging silently into the depths of a frozen lake where their blood mingles evocatively with the icy water. Scott lists Napoleon’s less admirable achievement in the film’s final title sequence that makes for grim reading with its tragic loss of life running into thousands; and this is probably one of the reasons why French critics have condemned the film.

Josephine, an imperious Vanessa Kirby, has managed to reinvent herself as Napoleon’s witty new wife. But despite her considerable talents as a patron of the arts and their torrid sex life and genuine love for each other, Napoleon choses to divorce her in favour of his country because, Josephine, six years older than him and in her second marriage, is unable to provide him with an heir. She is banished to the murky palace of Malmaison, Rueil, where she dies of diphtheria, Napoleon arriving too late to say a final farewell. The emperor, in turn, is deemed a threat to the security of Europe, and ends his days in the remote outpost of Saint Helena after a crushing defeat at the Battle of Waterloo in 1815, having previously returned from Elba.

Ambitious and informative, David Scarpa’s well-paced script straddles three decades, from the final stages of the French Revolution in 1793 until Napoleon’s death in May 1821. The guillotining of Marie Antoinette makes for a captivating opening sequence. We watch her being clamped onto the base of the guillotine before the blade is unleashed from its moorings slicing cleanly through her neck, the executioner dangling her bleeding head by the hair as the baying crowd roars.

Next comes Robespierre’s fate in parliament bringing an end to the Reign of Terror. This political instability offers Napoleon the ideal opportunity to surge up as a masterful strategist and architect of the Republic, crowning himself Emperor in 1804. At continuous loggerheads with England he tries to forge a pact with Prussia and Austria, which proves unsuccessful, and leads to heavy losses in Russia. Abdicating, he then heads for the Island of Elba, returning to France where he suffers a debilitating defeat against the Duke of Wellington’s army in alliance with Prussian Forces at Waterloo. And here Rupert Everett shines as a drole, rather foppish caricature of English aristocracy.

Stanley Kubrick would be proud of the film’s immaculate battle set pieces particularly at Waterloo, and there are some enjoyable support performances from Paul Rhys at Talleyrand, Edouard Philipponnat as Tsar Alexander, who is seen to enjoy a brief dalliance with Josephine, John Hollingworth as Marshal Ney and Richard McCabe as Lord Whitworth. But Napoleon belongs to its star Joaquin Phoenix who exudes strength and humanity despite his human flaws. @MeredithTaylor

NOW IN CINEMAS

Dir: Jens Meurer | Germany Doc

A warm and well-balanced view of Brexit Britain is expressed by the people of Cromer, Norfolk in this delightful documentary made by a German, no less!

Famous for its seafood, especially crabs – and wonderful sandy beaches Cromer is also home to a summer end-of-the-pier show that runs for three months – to packed audiences – twice a day! And this gives Jens Meurer – whose in-laws are English – the perfect setting for a sunny expose of the most divisive political and social event in our recent island history. Meurer offers a very human story seen by the people, and for the people. Politicians or local councillors are thankfully nowhere to be seen.

Shot on 16mm and intended for big screen viewing in a collective atmosphere Seaside Special turns out to be nostalgic and surprisingly entertaining in showing English life at its best through a variety of idiosyncratic Brits who are putting their best foot forward to make both the show (and Brexit) a success in spite of their conflicting views: ‘Hoping for the best but planning for the worst’, as Boris Johnson famously once said.

It may be modest in its provincial setting but the summer variety show is no amateur dramatic affair; it certainly punches above its weight and the quality acts look and feel really professional. And what also makes this and the show so endearing is the human angle. Real people with honest, unpredictable and often refreshing views imaginatively captured in Meurer’s lens. @MeredithTaylor

Seaside Special is in UK and Irish cinemas on 10 November 2023

Dir: Kitty Green | Cast: Julia Garner, Jessica Henwick, Herbert Nordrum, Dylan River | Australia, Drama 91

Set in the rugged wilderness of the Australian outback The Royal Hotel provides a twisty new turn on a genre of cinema involving forms of exorcism. This handsome-looking thriller moves on from earlier male-dominated features in the OZ exploitation genre that are generally laced with misogyny, xenophobia and homophobia, such as Ted Kotcheff’s masterly 1971 outing Wake In Fright.

There are similar themes to be found here as two young Canadian women on an Overseas Experience in Australia start to run low on funds and secure work in a remote drinking hole hotel, having travelled to the outback to replace a couple of English girls. Both find themselves having to confront a hostile environment.

Unlike the earlier films in the genre the two women and a range of other female characters, including an indigenous aborigine, are seen to find ways of elbowing out the worst traits of male behaviour. One of the men is played by Hugo Weaving in a standout performance well beyond his Priscilla Queen of the Desert days.

The film opens in a booming underground disco with a tracking shot following a young woman who has unsuccessfully chatted up a male bartender. As she leaves this pulsating darkened room the camera follows her into the bright quiet daylight of Sydney harbour. It all feels like a curious premonition that she will also become a bartender and experience both welcome and unwelcome male attention.

Melbourne-based film director Kitty Green follows up her previous film The Assistant with many beautiful visual touches. These include the contrast of an empty swimming pool with deck chairs and a sequence of jumping into outdoor water streams that serve to refresh the claustrophobia that dry arid landscapes induce in her characters. There are striking edits involving doors that open up possibilities but also shut out the unexpected. The natural beauty of a snake contrasts with what will happen to the contents of a bottled-up glass jar.

Apparently the film is based on a documentary about the real life experiences of two Canadian backpackers travelling in the Australian outback. Although the director’s observation of the women is possibly too understated or underplayed by Julia Garner and Jessica Henwick, The Royal Hotel is more likely to be viewed as a film of measured gradual chills.

The last sequence is clearly indebted to Tony Williams’ 1982 film Next Of Kin which was co-scripted by Michael Heath and voted by Tarantino as his choice for the best OZ exploitation chiller. The film earlier involved a woman battling interior demons in a gothic house and may have had more off-the-kilter chills and zany humour, but Green draws from her film a similar sense of brooding menace.

As its female protagonists look to find a way to escape from an inferno of impending hell, The Royal Hotel also employs a striking use of fire during the finale. This is a very clear homage to the earlier film while providing within the narrative a more contemporary female focused angle.@PeterHerbert

NOW ON RELEASE IN UK CINEMAS

Dir: David Fincher | Cast: Michael Fassbender, Tilda Swinton, Arliss Howard | US Thriller 118′

David Fincher is back with another noir crime thriller that sees a philosophising hitman reflect on the meticulous precision and emotional detachment required for his day to day existence. But life is what happens when we’re making plans – as the saying goes – and this ‘gun for hire’ is quietly going round the bend.

Fresh from its world premiere at Venice Film Festival, The Killer, adapted from the French graphic novel by Alexis ‘Matz’ Nolent, stars Michael Fassbender as the hired assassin whose diurnal activities are voiced over by drole observations (“weakness is vulnerability”, “avoid empathy”) making this all the more intelligent and captivating, even when it descends into brutal violence. Even these scenes are sleekly choreographed in Fincher’s crisp direction and Andrew Kevin Walker’s lean script.

In the rooftops of Paris the unnamed killer is staking his target out, Day of the Jackal style. But too much time spent in preparation can often impact on performance. And this is one of the twists in a tale that sees the hitman running to keep still, as we soon discover: The Killer is an intellectual performance rather than a plot-driven one.

Sadly, a woman – his girlfriend (Monique Ganderton) – gets in the way of his day job after a home invasion goes wrong, and this blows our hero off course leading him on a peripatetic journey to the Caribbean, New York, Chicago, Florida and New Orleans Caribbean to unpick the mess. A gripping and highly enjoyable foray that keeps us on our toes with plenty of eye candy, thanks to DoP of the moment Erik Messerschmidt. MT

OUT TODAY IN CINEMAS | 10 November on NETFLIX

Wri/Dir: Jessica Hausner | Cast: Mia Wasikowska, Sidse Babett Knudsen, Sam Hoare, Camilla Rutherford, Elsa Zylberstein | UK

Jessica Hausner is back with another cold-eyed psychological drama that unfolds in an elite school where a teacher forms a sinister bond with a group of students.

A dereliction of parental duty is behind the faddish behaviour of so many kids today. Or so Jessica Hausner would have us believe in her primary-coloured feature that also highlights eating disorders through the online ‘pro-ana movement’, climate change and self control.

Mia Wasikowska heads the eclectic cast of singularly unlikeable characters as Miss Novak a nutritionist specialising in ‘zero eating’ in a modernist school billed as one of the best in Austria. The parents are rich and mostly neglectful of their kids who channel this latent disappointment and lack of real guidance by voicing a series of contemporary convictions which sound entirely laudable in the opening scenes: their love of sport, their need to impact less on to the environment. No one actually mentions a desire to be slim. Gradually Miss Novak indoctrinates her students into a cult of disfunctional eating, promoting the miraculous health and environmental benefits.

Hausner and her regular screenwriting partner Geraldine Bajard certainly make some really valid points but the stark, non-naturalistic interiors and characters are so intractable, performed by a cast of inexperienced newcomers, we do not care a jot for any of them as they fade into pasty-faced insignificance, and this, along with an irritating percussive soundscape and the relentlessly unforgiving depiction of Gen Z, makes for an arduous watch.

The exception here is school principal Sidse Babett Knudsen who lights up every scene with her amusing charisma, as Ms Dorset. Fellow auteur Ulrich Seidl is behind the production team but the film has none of his dry wit or deadpan appeal. Instead we are forced to endure a scene involving a teenage girl (Ksenia Devriendt) who eats her own vomit, echoing the ‘yuk’ factor of Ruben Ostlund’s Palme d’Or winner Triangle of Sadness. Bodily functions are a natural part of life but sound effects would have been far more effective. Sometimes what we don’t see is far more powerfu than what we do. MT

NOW IN UK CINEMAS from 6 DECEMBER 2024

Dir: Bud Boetticher | Cast: Joseph Cotton, Rhonda Fleming, Wendell Corey | US noir thriller

After a decade spent making programmers Bud Boetticher was on the verge of finding his vocation as a director of westerns.

The series of oaters Boetticher made with Randolph Scott on which his reputation rests were bookended by two very twentieth century crime dramas shot in black & white by veteran Lucien Ballard.

It’s ironic that Wendell Corey’s grievance at his wife’s death makes him the villain, since that’s often what motivates Scott. The title’s a bit of a misnomer as Corey is far from your usual psychopath and remains inscrutable to the end.

The subject would have been right up Andrew Stone’s street but displays far more ruthlessness and has a higher casualty rate (there’s a particular nasty moment with a hoe).

I was rather disappointed that far more screen time was devoted to Joseph Cotten than Corey but the conclusion proved satisfyingly tense, @RichardChatten

Dir: Babak Jalali | Cast: Anaita Wali Zara, Jeremy Allen White, Gregg Tarkington, Siddique Ahmed | US Drama 91′

An Afghan translator from war-torn Kabul reinvents herself as a fortune cookie writer in this succinct but memorable immigration story directed and written by award-winning filmmaker Babak Jalali and his co-writer Carolina Cavalli (Amanda) and starring Anaita Wali Zara in a stunning screen debut.

Unfolding in glowing monochrome tableaux like a neorealist drama of the 1940s this ravishing arthouse feature, lensed by Laura Valladao, takes place in present day Fremont, a suburb of San Francisco.

Simply told yet complex, captivating and thematically rich Jalali draws us into the everyday life of world-weary Donya, a young woman who finds the petty trivialities of western society completely out of sync with her fraught past in Afghanistan.

Jalali uses a clever narrative device – an impromptu consultation with psychiatrist, Dr Anthony (Turkington) – to flesh out Donya’s backstory. She went to him requesting sleeping tablets but ends up revealing how, working as a translator for the army, she financed her passage to America, and how she would have happily gone anywhere to escape her past. And so these amusing sessions get underway providing the connective tissue for Donya’s days at the handmade fortune cookie company where she endures a humdrum existence until Daniel (Robert Mitchum/ Dustin Hoffmann lookalike Jeremy Allen White) pops into the equation, and sparks fly.

Jalali exposes San Francisco’s lively immigrant population in amusing vignettes: A Chinese co-worker takes advantage of Donya selling her expensive coffee when the office machine breaks down, a Chinese lute player entertains us briefly with his soulful vibes, and various diners read aloud their fortune cookie massages giving the film context and textural richness. Fremont benefits from its sleek running time; there is nothing spare or redundant in this quirky gem. MT

IN CINEMAS FROM 15 SEPTEMBER 2023

Dir: Alice Rohrwacher | Cast: Alba Rohrwacher, Josh O’Connor, Isabella Rossellini Italy, Drama 130′

Alice Rohrwacher’s latest drama is set during the 1980s in world of the ‘tombaroli’ or tomb robbers and tells the story of an English archaeologist (Josh O’Connor) caught up in this illegal trafficking of ancient artefacts.

A magical poetic tenderness is the ephemeral quality in Rohrwacher’s unique style of filmmaking and her dreamlike fourth feature has the same lyrical lightness of touch that haunted Corpo Celeste, The Wonders and Happy as Lazarus in some ways completing the final trio. Unfolding in her home of Tuscany the tale once again connects the past with the present through a delicate thread linking Italy’s ancient history that is still so much part of everyday life where relics are as common as bus stops at every street corner. La Chimera is a film that you gradually surface into as if waking out of the depths of a dream.

Italy’s Etruscan heritage was still being discovered at the end of the last century and a motley band of wayfarers chance upon this priceless buried treasure hoping it will finance the rest of their lives. Arthur (O’Connor) leads the quest – but is also haunted by another, more spiritual search, an illusory longing for Benjamina, a girl he loved and lost long ago. Her mother – a delightful Isabella Rossellini who brings so much resonance to the story with her own personal history – is still living in the past in a decadent grandeur of the old station of Riparbella, with her family and housekeeper Italia (Duarte).

Sporting a crumpled cream linen suit – the masculine sartorial emblem of 1980s Italy – Arthur spends most of the film in a state of gruff melancholy after being hailed by the others as the quintessential Italian-speaking Englishman who innate style and sense of conviction capture their imagination. They tag along with Arthur in the hope that he will lead them to the holy grail with his knack of locating sites with a flimsy forked branch. But like life itself, their odyssey is filled with dreams and illusions: Always better to travel in hope than to arrive. MT

NOW IN CINEMAS | CURZON

Dir.: Martika Ramirez Escobar; Cast: Sheila Francisco, Bong Cabreara, Rocky Satumbides,c Anthony Falcon, Rea Molina, Dido De La Paz; Philippines 2022, 101 min.

This tongue in cheek love letter to the TV films of the 1980s comes from first time Philippine writer/director Martika Ramirez Escobar. It follows one time filmmaker Leonor (Francisco) who hasn’t worked in the industry since her heyday in late twentieth century.

A well known figure in her neighbourhood Leonor lives with her son Rudy (Cabrera) who one day finds out from the ‘ghost’ of her other son Ronwaldo (Falcon) that a competition for new screenplays is due to be launched on national TV.  Keen to get back in the saddle, Leonor dusts down an old script entitled “The Return of the Kwago”. But the re-write is curtailed when a freak accident puts Leonor in a coma. Even then, the catatonic Leonor refuses to give up. Aided and abetted by various corrupt politicians like the local mayor (De La Paz), and the helpless Isabella (Molina), and yet another son – who lost his life in one of her previous endeavours, giving the piece a macabre twist – Leonor trail-blazes her return to glory.

Escobar runs riot with her curio, switching ratios in the style of the 1980s in a series of wacky episodes set in different time frames, DoP Carlos Mauricio working miracles with the complexity of it all. Leonor will Never Die may be not be for everyone, but will go down a treat for fans of bad taste. AS

IN CINEMAS FROM 7 APRIL 2023

Dir.: Tarik Saleh; Cast: Tawfeek Barhom, Fares Fares, Mohammad Bakri, MakramKhoury, Mehdi Dehbi, Ramzi Choukair, Sherwan Haji; Sweden/Finland/France 2022, 126 min.

The Cairo Conspiracy is an ambitious thriller with strong affinities to John Le Carre’s novels, telling story of an innocent “Angel”, who falls prey to unholy machinations in the Al Azhar University in Cairo, the heart of Sunni Islam, in this increasingly damning but overlong portrait of corruption in the Egyptian capital.

Adam (Barhom) is a naïve fisherman whose life changes when he is selected to join the prestigious Al Azhar University in Cairo. Here he crosses paths with Zico (Dehbi), who delivers an enimatic message: “Your soul is pure, but every second in this place will corrupt it”. Zico should know, he is working for State Security agent Ibrahim (the reliable Fares Fares) and dies mysteriously before he can tell Adam more.

Adam then finds himself promoted as Zico’s successor in the grand conspiracy scheme, with the secret service trying to find an appropriate replacement when the Grand Iman dies. The most popular choice is “Blind” Sheikh Negm (Khoury), who is supports the Brotherhood, in the eyes of Ibrahim and his superior General Al Sakran (Bakri) a “terrorist”. Adam is then told to infiltrate the Jihadist cell, led by Solomon (Haji). But his bid to navigate the system could be tricky and precarious if he makes the wrong move. 

The placid setting of the mosque contrasts with the mayhem of the conspiracy. Fares is an ambivalent person: he seems to genuine, almost caring towards Adam. His superior General Al Sakran is made of sterner stuff: violence for him is simply a way of life. Adam is caught in the spider web of deceit as the plot closes in on him, well aware that running away will bring shame on his family.

Visually this is a rewarding experience, even the violent scenes are shot with a degree of poetic sensitivity. Apart from the length, the only point of criticism is Saleh’s failure to take sides: and this objectivity collides with the byzantine brutality engulfing the two sides of this power struggle.

The Swedish TV director has had a run of decent big screen features of late and this follow-up to the The Nile Hilton Incident and The Contractor won him Best Screenplay at Cannes Film Festival 2022. AS

IN PICTUREHOUSES FROM 14 APRIL 2023

Dir: Sylvain Desclous | Cast: Rebecca Marder, Benjamin Levernhe, Emmanuelle Bercot, Marc Barbe | France, Drama 105′

Benjamin Lavernhe and Rebecca Murder star as hypocritical left-wing lawyers in this ambitious but flawed film that starts in a glorious modern villa in Corsica and winds up in a prison in Lyon. 

Madeleine (Marder) is on holiday with her lover Antoine at his father’s swanky beach villa near Porto Vecchio. One morning, driving along a small deserted road, their career prospects are dashed forever when they make a fatal decision with irreversible consequences.

High hopes of this turning into a sultry seaside thriller sink without trace in Sylvain Desclous’ follow-up to his 2016 feature debut Vendeur. What starts as a pithy psychological drama with an intelligent premise and a brief tension-fuelled police procedural, soon gets bogged down in a far less promising slice of social realism  weighed down by tedious political pretensions in the style of Ken Loach. 

Ultimately Grand Expectations doesn’t know whether it wants to be a thriller or a drama centring on workers’ rights. And it ends up failing on both counts. The characters of Antoine and Madeleine are badly thought out and totally un-likeable. And they’re implausible into the bargain, showing no real warmth or compassion in relation to their aims in life: No humanist individual would behave the way Madeleine or Benjamin do, so we really don’t care what happens to either of them. Bercot is cast in another hard-faced unsympathetic role – this time as a lawyer and union representative. Isabelle Huppert made a much more sympathetic job of it in her recent film Le Syndicaliste. Madeleine’s father (Barbe) is convincing as her estranged parent who walked out on the family and gets a chance to redeem himself, providing the vital link in the film’s denouement. 

The accident and its aftermath – the most fascinating part of the feature – takes a backseat for most of the film, Madeleine hardly giving it a second thought while focusing of her career prospects, and only thinking of her own glory while pretending to champion workers’ rights. The original plot-line is then shoed in again in the final act with an unfeasible outcome for all concerned. MT

ON RELEASE IN FRANCE

Dir.: Ben Affleck; Cast Matt Damon, Ben Affleck, Jason Bateman, Chris Messina, Viola Davis, Julius Tennon, Matthew Maher, Damien Young; USA 2023, 112 min.

Director Ben Affleck teams up again with Matt Damon – this time to sell shoes. But this is no ordinary footwear, but the titular basket ball trainers that would kick Michael Jordan and ‘Nike’ to the top of their respective games.

It pays off that Affleck never reveals the actor who plays MJ – just a shot of the back of his head. AIR works hard to make us root for ‘Nike’, the sports shoe company that ranks third after ‘Adidas’ and ‘Converse’ in the sneaker hall of fame, the former being the favourite to sign MJ to the most lucrative deal ever – despite his rookie status.

Damon plays Sonny Vaccaro whose brief is to save Nike’s basketball division when the founder and his boss, Phil Knight (Affleck) tries to pull the plug on the whole division. Vaccaro is no sportsman and hates physical exercise, but when it comes to negotiation he is in the premier league and, in the pre-internet days of 1984 personality mattered much more than today and scriptwriter Alex Convery reflects this in some showcase scenarios for Sonny, not least with David Falk (Messina), Jordan’s agent, the villain of the piece.

One of the highlights is Sonny’s encounter with MJs mother Deloris (Davis), the only woman in this male-only talk show. There are fine performance from Jason Bateman as Rob Strasser, one of the company’s leading execs, and Matthew Maher as Peter Moore, the designer behind the famous shoes. DoP Robert Richardson does a marvellous job in the confined environment of the sports arenas, and the film gets out and about to the Jordan’s home for some fresh air. William Goldenberg’s editing is brisk, reminiscent of Argo. But there is a drawback: it’s one thing seeing American hostages escaping from post-revolutionary Iran in Argo – but watching a major company trying to outwit their competitors is hard work. And anyone familiar with the story knows how it all pans out. The good old boys of ‘Nike’ made profit-sharing for athletes possible, so it became obligatory for colleges all over the country to share the gains they made on selling sweaters with their students. But ultimately, watching shoes being sold by people with six or seven digit salaries is hard work, particularly when visual power is in short supply. AS

IN CINEMAS ACROSS THE UK FROM 5 APRIL 2023

Dir.: Brett A. Schwartz; Documentary with Darius Jones,Liz Abunaw, Jahmal Cole USA 2022, 86 min.

Chicago is best known for its cultural heritage of Frank Lloyd Wright and striking skyline punctuated by modern architecture and the famous Lurie Garden at Millennium Park on Lake Michigan’s shoreline.

The predominantly Black western part of the Illinois capital is the focus of this new documentary from Emmy-nominated filmmaker Brett A Schwartz who follows a group of men – some of them interviewed – whose childhood friends have long left  and whose lives now fail to match up to the city’s glittering image of prosperity.

Daily shootings and killings are the norm, sometimes babies and small children are killed in the crossfire. Offenders end up in jail and upon release have no chance on the job market. Food plays a mayor role in this social malaise: an unhealthy lifestyle and cheap junk fare contribute to mass obesity in this place of deep-seated segregation. The demise started in the late 1960s with the murder of Martin Luther King in 1968. Mass riots were commonplace, not only in Chicago. Businesses moved out, estate agents kept upwardly mobile Black families out of the districts now reserved for Whites. Raised Up West Side is a chronicle that explores positive efforts to improve this sad state of affairs.

In an effort to address both food crisis and unemployment, the Farm of Ogden, a farmers’ market in the North Lawndale neighbourhood of the Westside now co-exists with “The Chicago Botanic Garden’s Windy City Harvest Program”. This runs a thirteen week transitional jobs programme giving ex-offenders the chance to learn a trade and secure long-time employment. The figures might not be impressive but of 212 enrolled, 152 men finished the course, and 119 found full-time jobs.

A modern aquaponics-based indoor farm, which yields fresh produce, shares the facility. Local entrepreneur Liz Abunaw, one of the leaders of the co-op, feared the Covid lockdown would lead to crisis, but instead the turnover improved because fast-food outlets shut down so people had to start cooking for themselves. Students from the ‘My Block My Hood My City’ project offer tourists a tour through the ghetto. Founder Jahmal Cole (who plans to run for Congress) is proud of the recent developments: West Side has found a new way of fighting back.

Jahmal is writing a novel about the history of the district, and has now found a full time job in a gym in Washington DC. But perhaps the story of Darius Jones is most typical for the Westside: his mother was unable to keep him away from the East Garfield Park neighbourhood, where he joined his first gang at 13, owned the first gun at 15 and was convicted age 18 for aggravated car jacking. In the Maximum Security Facility of Cook County Jail, he joined a programme to learn farming skills and this allowed him to spend some time outside jail. After his public lawyer found discrepancies in the police reports leading to Darius’ conviction he was released after only two years. Darius joined the Windy City Harvest Corps group, with life giving him a second chance.

Despite some enlightening archive clips and the worthwhile nature of the story it tells, Raised Up West Side is often let down by a scattergun approach to editing, Schwartz sometimes loses the thread of his narrative, and we do too. AS

AVAILABLE ON DIGITAL PLATFORMS FROM 28 MARCH 2023

Dir.: Paul Schrader; Cast: Sigourney Weaver, Joel Edgerton, Quintessa Swindell; USA 2022, 107 min.

Paul Schrader follows First Reformed with another lean film noir about redemption. Starring Sigourney Weaver and Joel Edgerton The Master Gardener is as perfect a B-Movie as you can get, this one in the Southern Gothic tradition spiced up with a contemporary twist. Full of surprises and much soul-searching it centres on a rather eclectic menage-a-trois. Schrader is still the last men standing in a Hollywood renaissance that never really happened.

Rich, arrogant and spoilt, dowager Norma Haverhill (Weaver at her most acerbic) is on the wrong side of middle age, and rules her garden empire like a plantation owner before the Civil War. She is the Law, or better still, she makes and breaks it. Her “Boy Friday”, or more of a man servant, is Marvel Roth (Edgerton) the titular horticulturalist.

Schrader gives a running VoiceOver that tools through all the fine gardens in history. Norma is not very keen on under-achievers, she even refers to her dog as  “just a veranda dog”; not fit for blood sport. And we can well imagine Norma in her younger days, riding mercilessly to hounds. Roth panders to her obediently during the preparations for the forthcoming garden show (which may be the last, as Norma is not what she was), but when Norma invites him to bed, a ritual that clearly dates back along way, we are quietly taken aback to witness his florid tattoos particularly the swastikas.

Into this idyll of tranquility and natural beauty Norma then places a time-bomb, very well aware of its explosive powers: Maya, her nineteen-year old grand-niece will help Roth and his staff to create the perfect garden. Norma did not care much for Maya’s mother – or any other relatives, for that matter – but prides herself in doing a good deed just this once. Roth, who is no spring chicken himself, immediately falls for Maya who is also has a drug problem. Her boyfriend/pimp/dealer regularly beats her up, and faces the wrath of Roth. But there a consequences, and Roth must retaliate, revealing a tawdry past – all redeemed courtesy of Miss Norma. But now he must make a choice.

DoP Alexander Dynan, who worked with Schrader on First Reformed, conjures up a rather staid and sterile picture of the gardens, historic and contemporary, and may be this is intentional. The only time they really enchant is in a surreal sequence towards the end, But his images of a broken America caught between white supremists and the immigrant underbelly feel authentic. The dying gang lords are being replaced by small time drug dealers and their scene. Schrader again quails away from judgement or sentimentality: his style is laconic and the assault is always full frontal. Master Gardener is like one of the best pulp-novels: the great Jim Thompson would have been proud. AS

ON RELEASE FROM May 2023

Dir.: Brandon Cronenberg; Cast: Alexander Skarsgard, Mia Goth, Cleopatra Coleman, Jalil Lesbert; Canada/Croatia/Hungary 2023, 117 min.

The new sub-genre “Eat the Rich” gets another addition with Brandon Cronenberg’s latest – an overblown potboiler that sees the filthy avoid a chance for redemption. Overlong, with a nearly two-hour running time, Infinity Pool oozes bodily fluids, and a proper sex-orgy – but alas, fails miserably when it comes to the plotting.

Suffering from longterm writers’ block, author James Foster (Skarsgard) takes his wife Em (Coleman), who happens to be the daughter of Foster’s publisher, on a luxury holiday to the impoverished fictional island of Latoka, where the wealthy live it up in a gated paradise. Em and James meet Gabi (Goth) and her husband Alban (Lesbert), the latter couching his vacuous personality in a shroud of enigma. In contrast Gabi is a blood-thirsty seductress who decides to torture the miserable James. On an expedition outside their gilded cage Gabi’s dangerous driving kills a local farmer. Unfortunately, the draconian ‘zero tolerance’ laws of Latoka make provision for the man’s relative to enforce – and enact – the death penalty.

But an inventive loophole allows for the Chief of the Police to line his pockets by offering to clone the perpetrators, allowing them to escape scot-free before the relatives get to exact their bloody revenge on their stand-ins. As such, James sees his “body double’ being slaughtered before his very eyes by the farmer’s son. From then on everything happens in overdrive, with Gabi and the rest of the cloned un-dead tormenting James. Voyeurism and the male gaze triumphs in the tame and disappointing plot resolution. James and Gabi are convincing, but the rest of the characters are predictable in a sensationalist and empty narrative which telegraphs every development taking away the suspense.

Half-way through, “Daddy Issues” are mentioned, possibly in reference to Brandon Cronenberg (43) being one of the “Nepo-Babies”, forced to fight for recognition in the shadow of an over-baring parent: in his case his father David.

DoP Karim Hussain, who worked on Possessor, tries hard to find an original angle on the aesthetics – not easy because Infinity Pool feels rather old hat despite a promising premise. AS

IN CINEMAS NATIONWIDE FROM 24 MARCH 2023

Dir.: Joshua Benson; Cast: Jeff Worden, Rachel Colwell, Julie Oliver-Touchstone, Rebeka Stein, Lou Llobell, Emerald Clarke; USA 2012, 96 min.

First time filmmaker Joshua Benson has adapted George Killock’s short story about a visit to the West of America which turns into a homecoming – of sorts. Will (Worden) has it made. Now a successful architect in London he loves his work and the glittering city buildings, but puts his subordinates down, and neglects his girlfriend Claire (Llobell).

Then comes a phone call from the American West – South Dakota border with Wyoming, to be precise – his sister Jeannie( Billy for short) informing him about the death of his estranged mother. Will jets immediately over the pond, only to be told by Billy that the funeral has already taken place. She has a task for him: to sprinkle their mother’s ashes on the mountains near the family home where their sister Kay (Oliver-Touchstone) still lives.

This is not a close family – for an unnamed reasons – so Will is reluctant to fill the requested task but does so in order to put the past behind him. What follows involves a series of minor disasters with people he meets on the way: A blonde All-American-Beauty and a hitch-hiker Alva (Colwell) who is building oil rigs with her brother, Will’s mood deteriorating rapidly until he finally leaves his car behind and continues his odyssey, travelling light with a back bag.

As an idea, the feature works beautifully, all Wenders and “Weltschmerz”. But in reality there are too many questions left unanswered: Will’s family has fallen out in a big way, but we never find out why. The Wild West which Will re-visits is just a fata-morgana, as is the London world of sky-scrapers, introduced with a heavy Beethoven score. Everything Will falls for is a product of his longing for the past. The grass is always greener on the other side of the fence. What gradually emerges is Will’s inability to be a team player: he has to have the leading role – no matter which country. His so-called feelings are just projections of something he will never really possess: he is a runner by nature. Worden leads an impressive cast and DoP’s Alex Grigora’s panoramic images of the West are equally beguiling. But Benson’s script is like a first draft, ideas held together by excellent production values. AS

THE PILGRIM is available to rent or own on North American digital HD internet and satellite platforms on March 14, 2023 through Freestyle Digital Media

www.youtube.com/watch?v=vPwrXj8BBvI

Dir.: Michael B. Jordan; Cast: Michael B. Jordan, Tessa Thompson, Jonathan Majors, Phylicia Rashad, Mila Davis-Kent; USA 2023, 116 min.

With Creed III nearly 50 years of Hollywood’s boxing history has been relegated to the back burner. What started in 1976 with Sylvester Stalone’s rollocking Rocky Bilbao is now in the hands of titular star and debut director Michael B. Jordan and veteran producer Irwin Winkler (Goodfellas, The Irishman). And it shows.

Avenging his father to become World Heavy Weight champion, Adonis Creed (Jordan) has settled down as a family man and boxing promoter residing in a super posh penthouse above the Hollywood Hills. His wife, the singer Bianca (Thompson), has given birth to baby daughter Amara (Davis Kent), super cute, but prone to violence in the Kindergarten. The past then rears its ugly head in the shape of Damian (Majors) who rocks up after 18 years behind bars to face his old school mate Adonis in the ring. The face off between the two egos is going to be interesting.

Creed III is pure melodrama with family relationships taking centre stage rather than the fighting, which is now reduced to an art form unfolding in a series of dazzling set pieces, rather than brutal set-tos. Creed III has been neutered, with Damian as the pantomime villain rather than a menacing hero. There is too much talk, and not really enough trousers, not to mention some really bad parenting, with Bianca letting Amara watch Dad fight in the ring.

The production values are on top form with DoP Kramar Morgenthau conjuring up some impressive fight scenes, panorama shots and stunning luxury apartments: but what ever happened to the raw Rocky of the ring?. Creed III is too slick for its own good, a triumph of consumer dreams. AS

NOW ON RELEASE IN UK CINEMAS FROM 3 March 2023

Dir.: Fatmir Koci; Cast: Alex Seitaj, Donald Shebu, Enisa Hysa, Jorida Meta, Amos MujiZaharia, Xhona Karaj, Petrit Malaj, Samuel Vargu; Albania 2022, 119 min.

Fatmir Koci’s amusing drama takes place in Albania, at the height of the Cold War when Stalinist functionaries, banal but powerful, tried to stay in their jobs against a tide of permanent change. The film is based on Dritero Agollis’ 1973 satirical novel of the same name, adapted for the screen by co-writer Mike Downey. 

The Soviet bureaucrats’ incompetence is highlighted by the plight of aspiring author Demka (Shehu), who has given up his own writing to churn out speeches for his superiors in the Cultural Department. The main benefactor of Demka’s output is the Zylo (Seitaj), whose ‘follies de grandeur’ are bolstered by his other half Adila (Hysa), while his oldest son Diogenio (Vargu) is a “Wunderkind” composer, in reality, just a fraud like his father. Zylo and his wife are friends with the playwright Adam Adashi (Zaharia)) and his wife Cleopatra (Meta). Another character called Zenepja (Karaj) cannot deal with his bitterness about his own literary career manque – or his neglect of her – and orders him to quit his job.

Adashi’s play “The Storm is defeated” leads to a fall-out between Zylo and other members of his department: some are keen, others condemn the work, and Zylo is left trying to guess which side his boss Comrade Q (Malaj) will come down on. Meanwhile he complains that Demka is too slow in his speech writing – largely because the poor man is bogged down with Zylo’s endless re-writes. Adila is in love with her husband’s literary output, unaware that another man is actually penning them, namely Demka, who she flirts with at a reception for an old-fashioned Albanian folklore band.

Some scenes are particularly farcical: Zylo’s obsession with the idea of bringing Socialism to West Africa. He, Demka and Cleopatra visit the dark continent, but their meetings with government officials are non-events due to it being ‘harvest time’. During their trip Demka senses there is something going on between his boss and Cleopatra, and he is not far wrong. On another occasion, Zylo takes Demka on a visit to the countryside where he wants to impress the local leaders with his cultural plans, but he ends up getting drunk and frightening his guests with a revolver. But dark clouds are gathering over Zylo, who also happens to be a sleepwalker. 

DoP Marek Wesolowski showcases the protagonists in Ozu-style medium shots, and turns to black-and-white when describing Demka’s dreams of a better life. But despite Koci’s enthusiasm for the subject, there are just too many one-dimensional characters involved in a self-indulgent drama highlighted by its absurdist humour. AS

Dir.: Ti West; Cast: Mia Goth, David Corenswet, Tandi Wright, Matthew  Sunderland, Emma Jenkins-Purro, Alistair Sewell; USA/New Zeland/Canada 2022, 103 min.

Going into the cinema and expecting the worst excesses from slasher movies makes Pearl a satisfying surprise. This neo-classical noir is a sister feature for John M. Stahl’s Leave her to Heaven (1945) where the brilliant Gene Tierney played a twisted socialite with a fetish for killing. Director and co-writer Ti West (X) takes a leaf from Stahl with this refreshing new creation.

Pearl – whose aesthetic of garish candy colours also channels Stahl’s feature – sees the titular young woman (Goth, also the co-writer), living on a homestead in the American countryside with her parents. The First World War is on its way out and Pearl is expecting the return of her husband Howard (Sewell) in the big city. But her repressive German Mother (Wright) hates the idea of her daughter having any fun and envious because Pearl’s father (Sunderland) is an invalid: mute and wheelchair bound.

It soon emerges that Pearl has a penchant for killing their farm animals and feeding them to her pet alligator in the lake. The beast appears like a faithful dog on Pearl’s command while her real pet canine has already fallen victim to a compensatory killing spree. Out of frustration, Pearl has taken to humping a scarecrow and also fancies herself as a dancer, and when Mitsy (Jenkins-Purro), Howard’s sister, gets wind of a local dance competition, with the best selected to entertain the soldiers, Pearl is only to keen to join up, supremely confident she will prevail.

But first there is the uncomfortable matter of Pearl’s affair with the local projectionist (Corenswet), who promises to take her to Europe. When the visit is not forthcoming, she uses a pitchfork to drive her message of disappointment home in a fit of pique that knows no bounds involving a variety of vicious weapons and victims. After accidentally setting Mum on fire and smothering Daddy, the last person standing is Mitsy, who bears the brunt of Pearl’s anger after losing out on the dance competition. An axe comes in handy and finally Pearl can sit down to dinner. But hold your horses: Howard is on his way home.

The humour is deliciously deadpan There is even a moving scene near the end when Pearl is cuddling up to Mum, listening in her mind to an old German lullaby from back in the day.  Pearl combines originality and past values of the horror/noir genre with an antiheroine who gradually finds a place in our hearts with her relatable revenge campaign – after all, most of us are occasionally tempted to follow her example. The difference here is that Pearl has lost her inhibitor reflexes which prevent ordinary people from running amok. DoP Eliot Rockett ensures the grisly deeds are as understated as possible in this highly entertaining shocker. AS

ON RELEASE NATIONWIDE from 17th March 2023

Dir/Wri: Eric Besnard | Cast: Gregory Gadebois, Lambert Wilson, Marie Gillain | France, Drama 97′

Gregory Gadebois, Lambert Wilson and a frisky french bulldog are in fine comic form in this odd couple buddy movie. Simple Things is far from simple totally subverting expectations in a comedy drama that is actually quite subtle and complex. 

Set in the heady landscapes of the Auvergne Alps an evocative opening sequence reminds us how stressful modern life has become in the big city. And this is where the uber chic eco entrepreneur Vincent (Wilson) is heading when his sports breaks down on a lush mountain highway. Plump country bumpkin Pierre (Gadebois) just happens to riding by and offers him a offers him a lift on his motorcycle.

This being the rural life Pierre – not a man to be trifled with, or hurried – insists on cooking an delicious omelette and taking a siesta before the two finally set off for the big smoke, Vincent offering Pierre dinner for his kindness. But spying an angry yuppie complaining of Vincent’s late arrival Gadebois speeds off into the distance.  

In the thick of the boardroom it dawns on Vincent how fed up he is of the fast lane. But before he has time to reflect on his frayed mental state the meeting is in full swing, but he is clearly coming apart at the seams. Back at the ranch Pierre is feeding the chickens when Vincent reappears on the pretence of losing his Mont Blanc pen, but really to ask Pierre if he can stay awhile and the disdainful loner offers him a meagre straw mattress in his nearby rustic cabin. Next morning Wilson makes an offer Gad immediately – and angrily refuses – that of offering to finance his friends existence as part of an eco project.  Deeply insulted that anyone should try and patronise his modest way of life as if it were somehow quaint rather than real on every way, Pierre sends the smug ‘cool guy’ packing.

The subtle interplay between Wilson’s trendy entrepreneur and Pierre’s disdainful mountain hermit provides the film with its rich vein of humour but the romance between Pierre and his cousin’s widow Camille (Gillian) sounds a bum note in this otherwise engaging comedy drama. Bernard and his co-writer Anne Wermeligere cook up a clever script which ticks all the zeitgeisty boxes and there’s a terrific car chase and an evocative score too not to mention some eye-catching mountain scenery. MT

ON RELEASE IN FRANCE

Dir.: Asif Kapadia; Ballet choegraphed by Aksam Khan with Jeffrey Cirio, Stina Quagebeur, Fabian Reimair, Erina Takahashi, Ken Saruhashi; UK 2022, 87 min.

Asif Kapadia has drastically shortened Aksam Khan’s titular ballet from 120 to 87 minutes. One should not forget, that the original Ballet reviews were not too positive, and one point often mentioned was the running time, seen as overly self-indulgent. Kapadia’s version is not only streamlined, but concentrates on the main themes of the production: existential loneliness and revenge.

Georg Büchner’s unfinished play “Woyzek” and Mary Shelley’s “Frankenstein” are the cornerstones of the ballet. With Khan having changed the repressive small town atmosphere of “Woyzek” to the arctic laboratory, Kapadia can stage the ballet more or less in one place: the scientists/soldiers’ wooden hut which later on partially collapses.

The Creature (Cirio) is very much in love with his wife Marie (Takahashi), but she is drawn to the loudmouth Drum Major (Reimair). Whilst the Creature tries to gain entrance into society, he exists merely to serve as a test object for the group of scientists/soldiers who are keen to find out how long their specimen can withstand the deadly hypothermia. At the same time  scientists and soldiers are seen as a compatible unit and that the female camp doctor (Quagebeur) is a comic copy of Dr. Mengele, whose horrific medical tests were responsible for many deaths at Auschwitz/Birkenau. On the middle level of the ruling hierarchy, the captain (Saruhashu), uses the Creature to provide for his daily comfort.

Repeated tape recordings of the conversation president Nixon had with the astronauts of the moon landing on 20.7.1969 play out through the film, Nixon calling them –  rather derogatively by their first names – Neill and Buzz. Andy Serkis lends his voice to some computer-voiced commentary, but neither of these elements particularly enhance the ballet feature.

DoP Daniel Landin keeps the light arctic dark, with the protagonists looking like shadows of themselves. Symbolically, and in line with his prototype status, the Creature is stripped of any form of warm clothing and treated like a wild animal, rather than a human. The minimalist wooden set is constructed like a fortress in the white arctic landscape, with the Creature enduring endless tests to measure his resistance to ice and snow. But his personal battle with the Major for the soul of Marie is even more inhumane, since he is not even granted the status of a combattant. The Major and The Doctor head up the oppressive regime, science and military might working hand in hand. This central theme connects the ballet with Shelley’s Frankenstein: the creature being led loose into a world bent on destroying him while his once proud creator stands by helpless.

Creature is a brutal and unforgiving ballet of sorrow and alienation, both physical and psychological. A true horror feature, set like a spartan Western film, with the main protagonist literally stripped of everything. AS

ON RELEASE FROM FRIDAY

Dir.: Saela Davis, Anna Rose Holmer; Cast: Emily Watson, Paul Mescal, Aisling Franciosi, Declan Conlon, Toni O’Rourke, Lalor Roddy, O’Dwyer); USA/UK/ROI, 100 min.

An ambitious murder story unfolds in the style of a fishy Greek tragedy in this Ireland-set thriller from Brooklyn-based filmmakers Saela Davis and Anna Rose Holmer.

In a dour and windswept fishing village a mother called Mary (O’Dwyer) is crying over the body of her drowned son, while another, Aileen O’Hara (Watson) is celebrating the return from Australia of her own offspring, Bryan (the ubiquitous Paul Mescal). Aileen’s husband Con (Conlon) and daughter Erin (O’Rourke) are less keen to see Bryan who was a tear-away in his youth. Grandfather Pat (Roddy), who spends his days napping, gets on best with Bryan, the two singing old seafarer songs.

Bryan has come back in the hope of reviving his father’s defunct oyster farm, but that’s not his only mission in life. With an eye for the girls he sees every female in the village as a potential paramour but soon comes a cropper with a less pescatarian catch in the shape of Sarah (Franciosi), whose delicate features belie a stern personality when challenged. But Bryan’s ‘way with woman’ fails to make the oysters thrive and soon the plant has to stop working full time due to fungal contamination. Meanwhile Emily Watson, as mesmerising as ever as Aisleen, has more fish to fry that normal grafting in a fish processing plan and dealing with her son’s slimy reputation. She will soon be forced her to make a decision that will destroy everything she has worked for. As that’s not all, the local fishermen soon start complaining about missing catches.

The scope of the production is very much like a TV play, with action scenes covering up for the sparse emotional content: there is no slow dramatic build up, just sudden outbursts of violence, and the motivations are only too obvious. Most members of the O’Hara clan seem rather one-dimensional making this a rather predictable story held together by solid performances, Mescal playing against his usual cuddly casting in Normal People and Aftersun. DoP Chayse Irvin does a great job with his panorama shots of this coastal backwater, and his images in the food procession plant show the terrible working conditions in this seething study of mother love gone wrong. AS

NOW IN CINEMAS FROM 31 MARCH 2023

Dir.: Steven Soderbergh; Cast: Channing Tatum, Salma Hayek Pinault, Ayub Khan Din, JemiliaGeorge, Juliette Motamed; USA 2023, 112 min.

When Steven Soderbergh burst onto the film scene with Sex, Lies and Videotape the world was aghast at this shiny new talent. Decades later his final part of a trilogy that started in 2012 is tame and overloaded with characters and sub-plots. And by the end nobody really cares what happens. 

Last Dance centres on a wealthy soon-to-be-divorced couple – Maxandra Mendoza (Hayek Pinault) and ex-male stripper Mike Lane (Tatum). After their furniture business goes bust Mike meets his friendly creditors via Zoom. The couple then spend an evening of wild passion (no sex – mind) and Mike re-arranges Maxandra’s flat in Miami. She offers him an opportunity in the theatre business – having inherited London’s “The Rattigan” in the divorce settlement. There, a tedious costume drama is soon abandoned for a night out with male strippers who run riot under Mike’s direction (minus their g-strings). 

The whole saga is narrated by Maxandra’s teenage daughter Zadie (George) who is a mixture of “Alexa” and Wikipedia, and even finds time to write a novel in the ensuing chaos. Meanwhile Max’s chauffeur/confidante Victor (Din) tries in vain to keep his mistress from making any more mischief. A motley selection of half-baked characters join in the farce including Max’s soon-to-be-divorced husband and the local council chief-administrator who wants to close the theatre but is persuaded otherwise by a visit of the stripper ensemble in the bus (!). The focus here is really on Mike and Max: will they, or won’t they do it?

Brilliant production values nearly save the day but cannot make up for  an underwhelming and unfocused production that overstays its welcome at  nearly two hours. AS

ON RELEASE NATIONWIDE FROM 10 FEBRUARY 2023

Dir: Carolina Cavalli; Cast: Benedetta Percaroli, Galatea Bellugi, Giovanna Mezzogiorno, Margherita Maccapani Missoni, Monica Nappo, Michele Bravi; Italy/France 2022, 93 min.

Amanda is the anti-social but wickedly amusing daughter of one of Italy’s rich industrialist families in this impressive first feature from Carolina Cavalli who celebrates female friendship.

The sardonic 24-year-old (Benedetta Percaroli) is back in her home town of Turin after spending some time in Paris. In a bid to put distance between her and her family, who have no time for her whims and capricious behaviour, she opts to stay in a hotel but makes a regular appearance at the family dinner table and seems to have hit it off with her niece, much to the consternation of Amanda’s older sister Marina (Missoni).

Amanda’s first object of desire is a regular visitor to the Cinematheque – a place of magic for Amanda – but neither of them makes any contact. The “Dude” (Bravi) is next in line, but after it transpires he only wants to distribute free condoms – instead of drugs – he bites the dust as potential bestie number two.

Then a blast from the past arrives in the shape of Rebecca (Bellugi), her best friend from primary school. After a long stand-off – Rebecca suffers from claustrophobia – the two manage to connect, but a horse will be the vital link in cementing the women’s friendship.

Although Amanda is not very lovable Cavalli’s clever writing skills make her an irresistible force of nature: she can be witty, but her comments often cut to the quick. All this scathing comedy and a string of amusing plot lines make the film whizz by leaving us wanting more. Cavalli – unlike her feminine creation – adopts a restrained approach to the storyline that – at just over 90 minutes – is well worth watching. AS

NOW ON CURZON From 2 June 2023

Dir.: Darren Aronofsky, Cast: Brendan Fraser, Hong Chan, Ty Simkins, Samantha Morton, Sadie Sink; USA 2022, 117 min.

The Whale never breaks free from its claustrophobic stage origins, adapted for the screen by Samual D Hunter and based on his 2012 play. In contrast to his usual fare Darren Aronofsky’s direction is restrained, by his own admission, in a feature that deals with the ‘elephant in the room’ in the 21st century: Obesity. Brendan Fraser beefs up for a gargantuan performance as the fated fatty Charlie, traumatised by his partner’s suicide and wallowing towards an early grave in a dour Idaho backwater where he teaches creative writing via Zoom.

Charlie has no desire to be hospitalised and his ample finances provide for nurse Liz (Chau) to look after him, his estranged wife Mary (Morton) and daughter Ellie (Sink) – putting in appearances for obvious reasons – but they are angry and shouty in contrast to the benign and philosophical Charlie who feel for increasingly  as he tries to put past to rights. Christian cult member Elder Thomas (Simkins) brings an innocuous twist to the plot, completing the quintet of depressive truth-seekers.

NOW ON GENERAL RELEASE IN UK + FRANCE

Dir: Ali Abassi | Cast: Zar Amir-Ebrahimi, Zar Amir Ebrahimi, Hedi Bejastani, Arash Ashtiani | Thriller 114′

Border was a surreal gender bender fantasy set in Sweden. This time around Ali Abassi returns to his native Iran blending true crime and salient social comment with a scuzzy serial killer thriller that unfolds in the Islamic pilgrimage town of Mashhad, where millions come to worship at the shrine of Imam Reza .

This is where middle-aged Saeed Hanaei (Bajestani), a dedicated family man and construction worker, murdered sex workers at the turn of this century, before being trapped by a tenacious female journalist who nearly lost her own life in the process as she wades through the mire of a chauvinistic society fighting off advances from an incredulous policeman to convince an unscrupulous judge.

Holy Spider sets off in the sordid backstreets of the city (filmed in Amman) where it follows ex Iran-Iraq war veteran Saeed as he picks off his victims on a motorcycle, riding them back to a squalid basement where he strangles the women with their own hijabs, earning him the name of ‘Spider Killer’.

Tehran-based journalist Rahimi (Zar Amir Ebrahimi), arrives in town determined to track Saeed down, and will stop at nothing, not least the misogyny of the police and local authorities, who undervalue women – and particularly ‘loose’ women – to bring him to justice. And her ongoing investigation exposes the wider implications of these murders in a society that holds men and marriage in high regard. And Saeed truly believes he is doing a service to Islam in ridding his community of these ‘low life’ women who are seen as no more than vermin on the streets of the city.

Border was mesmerising in its zinging Nordic setting but Holy Spider plays out as an exotic neon nightmare, Nadim Carlsen’s intimate close-ups gripping us by the throat in experiencing the strangulations for ourselves: the twisted purple lips, the bloodshot eyes, and bruised bodies, the sordid salaciousness of it all. A droning electronic soundscape from Lajos Wienkamp-Marques escalates the tension, feeding every fear engendered by the wickedness of this anti-female annihilation.

As Rahimi pursues the murderer she is beset on every side by negative forces aiming to discredit her in a narrative that persuades us that this task is a not just about exposing the truth but managing the lies and the wide-held belief, amongst Saeed’s family and supporters, that he is righteous in his crusade to wipe out junkies and prostitutes. And the suspense needles on until the final horrifying moments. MT

BEST ACTRESS WINNER (Zar Amir Ebrahimi) | CANNES 2022 | IN UK and IRISH cinemas from 20 JANUARY 2023

Dir.: Damien Chazelle; Cast: Brad Pitt, Margot Robbie, Diego Calvas, Jean Smart, Olivia Wilde. Spike Jonze, Li Jun Li, Jovan Adepo. Max Minghella; USA 2022, 190 min.

Damien Chazelle (La La Land) is not the first filmmaker to depict the extravagance and outsized egos of the Hollywood years between talkies and sound. Before Chazelle came along there was Sunset Boulevard and Robert Altman’s 1992 The Player (among many others) but none resort to the dreary hyperbole of Babylon or its needless financial outlay that Chazelle burns through with boyish glee, greedily biting off far more than he can chew in this mouthful of mediocrity.

The extraordinary running time is also a nod to the director’s inflated ego: like it or lump it, we are stuck with this overblown ‘Director’s Cut’ that sees him unable to control himself in a homage to Hollywood’s Golden Era in a cartoonish version of what really went on. Glossy moving images glide meaninglessly over a depthless void, giving lip service to reality without ever engaging with it, and leaving out references to the “Hays Code” of 1934, and the influencing contribution of European directors like Chaplin, Lang, Curtis, Litvak and Siodmak. Chazelle turns a blind eye to cinematographic history.

Three main protagonists lead us through the Hollywood jungle in 1926 with the advent of the talkies. Matinee idol Jack Conrad (Pitt) works his way through the women and is only too aware of losing out to the talkies. On the phone to a mighty producer he complains: “this script for his new feature stinks, and the studio will blame him for the result”. But he soldiers on until self-disgust and disappointment drives him to tragedy.

Margot Robbie’s Nellie LaRoy, the “wild girl” with the New Jersey squawk and a penchant for drugs and gambling, is a born star before she even sets foot in a studio. Based on Clara Bow (the original ‘It’ girl`) Nellie gets her chance to act when the female lead is killed in the opening orgy scene. The body is smuggled out of the building while an elephant makes a grand entrance, grabbing the camera’s attention. Nellie is also a showstopper, but her scenes are raucous and obscene, and later she has difficulties with the sound system that sounds her death knell. Alas, Nellie’s type is superfluous to requirements, and she is written out of the narrative.

Mexican American “Manny” (Diego Calva), her counterpart, is dazzled by stardom, starting at the bottom and rising to the top, only to crash down to reality, and a 1952 epilogue where he is still in love with her despite her ruinous gambling addiction. She leaves him at the bottom where they first met.

Animals are treated with unbridled neglect and even cruelty. Manny, amongst other feats, is forced to manoeuvre said elephant up a steep hill where the poor beast becomes frightening and incontinent spraying everyone in sight. Another spectacular episode in the desert sees Conrad take on a rattle snake desperate to escape his clutches. It is finally slayed by the sinuous Lady Fay Zhu (Li Jun Li) after Nelly’s attempts to kill by swirling it round in mid air.

There are (too) many cameos: Jean Smart’s gossip columnist is the only voice of reason, telling Conrad he shouldn’t grumble, at the end. “because fifty years from now some kid will stumble over your image.” Max Minghella is suitably tyrannical as an elegant Irving Thalberg, and Jazz musician Sidney Palmer (Adepo) is given a box of charred cork to blacken his face, so he can fit in with the rest of the band.

Chazelle’s regular DoP Linus Sandren holds it all together image-wise lending a visual unity that is lacking in the script. On a positive note, Chazelle occasionally shows sparks of real panache and humour, and succeeds in bringing cinema back as one of many attractions in the fairground. AS

IN UK CINEMAS FROM 20 JANUARY 2023

Dir: Marc Fitoussi | Cast: Laure Calamy, Kristin Scott Thomas, Olivia Cote, Alexandre Desrousseaux, Panis Koronie | France, Comedy 109′

Laure Calamy turns her talents to comedy and Kristin Scott Thomas lets her hair down in Marc Fitoussi’s uplifting French drama that navigates the highs and lows of female cameraderie and lifelong friendship. With humour, insight and maturity Fitoussi shows you never really know someone ’til you go on holiday with them.

Blandine and Magalie were inseparable as naughty teenagers growing up in Paris and then went their separate ways. Meeting up again decades later their lives have changed completely: Blandine (Cote) is a downbeat divorcee and mother to Benjamin Desrousseaux), bubbly ’80s disco fan Magalie (Calamy) is freelancing in the music business, with free being the operative word for broke.

On a whim they decide to embark on a trip to the Greek Islands, but their conflicting personalities soon see them coming to blows, Magalie is feisty and flirts with the reality – and every man she meets, always seeing the glass half full; Blandine works with cancer patients but has lost her bedside manner where love is concerned.

The trip gets off to a bad start when the two get thrown off the ferry, Magalie having brought the wrong tickets, they are forced to bed down in cramped conditions on a barren island with a group of SAGA holidaymakers. The next day gets off to a promising start – for Magalie, at least – when they meet some hunky surfers, but any hope of romance soon hits the rocks, despite Magalie regaling all with her song and dance routine, and nightfall sees them back in the same bedroom together.

When they finally get to Mykonos, Magalie’s old friend Bijou (Kristen Scott Thomas rocking flowing grey tresses) it ready to welcome them into her Greek idyll with her artist  boyfriend (Koronis). This is where Blandine shines, bonding with breast-cancer sufferer Bijou who is anxiously awaiting the results of a recent biopsy.

Les Cyclades brims with tears, recriminations and laughter – and Calamy is genuinely hilarious, Cote complimenting her spunky confidence with a sober sensitivity. As a comedy duo they chanel the same comedy dynamic as Alison Steadman and Harriet Reynolds in the TV outing ‘Abigail’s Party’. Meanwhile Kristin Scott Thomas’ Bijou – straight out of the swinging sixties – provides a fun and stabilising influence as a successful woman grounded by the feel-good influence of love. MT

NOW IN FRENCH CINEMAS

https://youtu.be/xbIsRbyrhJQ

Dir: Ken Scott | Cast: Francois Arnaud, Antoine Bertrand, Louis Morisette, Patrice Robitaille, Julie LeBreton, Charlotte Aubin | France/Canada Comedy Drama 107′

Serious themes are given the simplistic treatment in this lightweight comedy that bobs along pointlessly in Canada’s Ken Scott one-note direction.

When their father dies, four adult brothers return to their childhood home in Canada’s picturesque Magdalen Islands, only to discover the housekeeper has turned it into a fully occupied b&b. But much worse is to follow at the reading of the Will, forcing the men – and their families – to completely reassess the future.

Unfortunately, there’s nothing authentic in about any of these main characters who are merely cyphers representing their individual personality flaws: Nicolas (Arnaud) is unfaithfulness personified: we see him mindlessly bonking Camille (Aubin) in the opening scenes, and then inviting her to join the trip. “With your family?” she splutters, incredulous, and soon fades into the background. Charles-Alexandre (Morisette) is greed personified, a bland financier who spends the film working out how to extract his inheritance. Then there is William, a writer unable to string two words together for a new novel. But perhaps the saddest of the foursome is Thomas (Bertrand), an overweight loser who cannot move on from the past and spends the whole time whingeing. The performances here are as flaccid as the various subplots that fail to resolve convincingly in a mawkish scenario held together by saccharine interludes picturing this happy extended family romping around the countryside never disagreeing despite justifiable reasons to do so considering the tragic issues that confront them. This is just abnormal, even comedy needs tonal nuance.

By the end we are supposed to feel happy and relieved for them but we really couldn’t care less. The only saving grace in this comedy without any laughs is Norayr Kasper’s stunning photography that puts this gorgeous part of Canada on the screen for all to enjoy. MT

NOW ON RELEASE IN FRANCE

Dir: Radley Metzger | Cast: Wilfrid Hyde-White, Honor Blackman, Olivia Hussey, Edward Fox | US Drama

While John Willard’s original play was produced in 1922, this version updates the action to 1934 (which still predates the Bob Hope classic by five years).

Whereas the mansion in the earller films had been dark and covered in cobwebs, here it is vast but tinny, hopelessly overlit and decked out in what Honor Blackman sardonically describes as “my favourite period, early Devil’s Island!”

But as seventies remakes go however it could be a lot worse, and making Lawyer Crosbie a woman is a bright idea (especially as she’s played by Wendy Hiller). Beatrix Lehman makes a memorably spooky housekeeper as the ironically named Mrs Pleasant, while the depiction of mean old millionaire Wilfred Hyde White at the film’s conclusion makes a novel use of colour. @RichardChatten

Dir: Todd Field | Cast: Cate Blanchett, Nina Hoss | US Biopic Drama 158′

Cate Blanchett is sheer dynamite – allegedly mastering fluent German – as a world famous musician foisted by her own petard in this hefty near three hour biopic from US director Todd Field.

Field, in his first film since Little Children (2006), firmly establishes the gravitas of Lydia Tár’s prestigious position as head conductor of the Berlin Philharmonic in the prodigious opening scenes of a feature which luxuriates in its endlessly fascinating main character; her peripatetic high-net-worth lifestyle amongst the Berlin’s musical luminaries, her pioneering grit and perseverance in accomplishing her multiple worthy achievements: now at the zenith of her career she is a pianist, composer, conductor and successful family woman who has adopted a Syrian refugee with lover Sharon Goodnow (the ever luminous Nina Hoss) and is seemingly in-eclipsible, or so it would seem. But then allegations of impropriety surface – as they always seems to these days – leading to a down-spiralling in professional and homelife. Is she a narcissist? or simply a perfectionist unwilling to accept second best from her fellows, or herself – Field leaves you to make the final decision.

Slow-burning towards a coruscating crescendo after a languorous, immersive overture, Tár’s denouement is decidedly gut-punching. Certainly a film for cineastes or fans of classical music, this is heavyweight yet compelling entertainment, that keeps us engaged throughout its running time. A magnum opus for Field and a tour de force par excellence for Blanchett. Let’s hope she wins the Oscar – she certainly deserves to. MT

IN CINEMAS FROM 13 JANUARY 2023 | Copa Volpi Award for Best Actress Cate Blanchett | VENICE FILM FESTIVAL 2022

Dir.: Sam Mendes; Cast: Olivia Colman, Michael Ward, Colin Firth, Hannah Onslow, Toby Jones, Tom Brooke; UK 2022, 119 min.

This noble tribute to the golden days of the picture palace and the power of human connection is underwhelming despite the deep humanity of its intentions. A brilliant British cast of Olivia Colman, Colin Firth, Tom Brooke and Toby Jones are the motley crew of characters trying to keep their cinema afloat in the seaside town of Margate, where the chance to show a regional premiere of Chariots of Fire gives hope to a movie theatre that is well past its glory days. Director and first time script writer Sam Mendes certainly offers a flawless visual portrait of provincial England at the beginning of the 1980s but his script lets him down, lurching between lethargic melancholy and over intense melodrama unfolding in a series of episodes rather than a cohesive and flowing feature.

The Empire is a cinema on Margate beachfront where troubled employee Hilary (Colman) has suffered a breakdown and is barely coping with the unwelcome sexual advances of unhappily married cinema manager Donald (Firth), and a much younger addition to the team, Stephen (Ward), who falls for her as the two begin a torrid affair. But after getting close to Hilary, Stephen, who is black, rekindles his relationship with his first girlfriend Ruby, destabilising Hilary’s fragile stage of mind. Hilary is somehow in thrall to Donald and their conflict comes to head on the cinema’s first night screening of Chariots of Fire, when she then trounces him by reading an Auden poem, before spilling the beans.

During a National Front rally, the mob then storms the cinema, seriously injuring Stephen and landing him in hospital. The other three main members of the cinema staff: the sensitive ticket manager Neil (Brooke), cranky projectionist Norman (Jones) and usherette Janine (Onslow) in her “Rocky Horror Show” outfit, barely get a look in as characters, despite the rich tapestry of the storyline and its exciting potential.

Instead, Mendes concentrates far two much on nostalgic detail and the negative aspects of Hilary’s condition which robs the film of momentum and the chance for the other characters to play a real part. Strangely Roger Deakins’ rapturous camerawork becomes the focus of Mendes’ mournful semi-autobiographical recollection, upstaging even Colman’s soulful performance and the support of the underused and talented cast who struggle with their underwritten parts. What could have been a landmark film about the healing nature of cinema, music and community ends up as another decent, but rather unbalanced production where politics instead of people takes centre stage. AS

EMPIRE OF LIGHT in UK and IRISH CINEMAS from 9 January 2023

Dir: Michael Mailer | Cast: Morgan Freeman, Cole Hauser, Jaimie Alexander | US Crime Thriller

Why Morgan Freeman went for this clunky cliched ‘neo-noir’ whodunnit is anyone’s guess. The only other mystery is how such a poor script got a budget to be made in the first place. Set in deepest Mississippi it sees a group of honest but deeply uninteresting people emerge as suspects in a story so far-fetched and implausible even Freeman fails to gain credibility as the local sheriff investigating the case. It all starts with Russ (Hauser), a financially successful broker, enjoying drink in his local after trousering a fortune on the city’s stock markets. Tongues start to wag when he is confronted by an angry punter lamenting the loss of his life savings. It appears Russ has duped the locals in an ill-thought out insurance scam, and they are not best pleased at losing their money. Russ then gets a series of anonymous phone-calls announcing: “Where will you be the minute you wake up dead?” Do we really care? Russ’s next door neighbour Delaine (Alexander) does, and she temps him round to her place to enjoy ‘the best beef stew in the neighbourhood”, according to her daddy (Dahlgren) who survives the stew but then gets shot dead. This is the first in a series of murders, Morgan Freeman losing the will to live as gradually bodies and plot-holes pile up. MT

ON DIGITAL PLATFORMS from 9 JANUARY 2023.

Dir.: Marc Forster; Cast: Tom Hanks, Mariana Trevino, Mario Garcia-Rullo, Truman Hanks, Rachel Keller, Cameron Britton, Peter Lawson, Anita Jennings; USA 2022, 126 min.

This lightweight user-friendly remake of Hannes Holm’s dour original A Man Called Ove (2015) is styled for the American market, based on a bestseller by Fredrik Backman. It stars Tom Hanks as Otto, a lonely pensioner suffering from the recent death of his beloved wheelchair bound wife Sonja (Keller).

On a condominium outside Pittsburgh, Otto is Pennsylvania’s answer to Victor Meldrew, a miserable old buffer hellbent on bringing rule-breakers to task, particularly parking offenders and neighbours who put their rubbish in the wrong container – there are so many to choose from. In flashback we see a much happier Otto (Hank’s son Truman), courting the bookworm Sonja in his petrolhead days when speed was his main thing.

Tragedy strikes on the way back from a day out at Niagara Falls when the two are involved in a road accident killing Sonja’s unborn child and condemning her to life in a wheelchair. An office tantrum soon sees Otto edged out of his long-term job, and a place on the condominium Administration Board. Otto then comes to blows with his  best friend and neighbour Rueben (Lawson) who buys a Japanese car, an act of treachery in Otto’s opinion.

But all is not lost – the very start of the film has already predicted a return to grace for grumpy old Otto who is seen buying a rope that leads to a botched suicide attempt. Otto now has new neighbours, the do-gooding twosome Marisol (Trevino) and Tommy (Garcia-Rullo). Marisol is pregnant again, and Otto offers her driving lessons and becomes a reliable babysitter. He also offers sanctuary to teenager Malcolm – now transgender rather than gay – after the boy’s father throws him out.

Hanks’ easy charm and bountiful bonhomie is the key to his casting, he can never be seen in a negative light – for long at least – so the rest of the film is bland and predictable. Gone is the quirky indie feel of the Swedish original and we are left with a feel-good story of schmaltz and saccharine, just saved by the production values and an humanising Tom Hanks. AS

NOW IN CINEMAS FROM FRIDAY 6 JANUARY 2023

Dir: Michele Placido | Cast: Riccardo Scamarcio, Isabelle Huppert, Louis Garrel, Lolita Chammah, Micaela Ramazzotti | Drama 120′

Riccardo Scamarcio hogs the limelight as the painter Caravaggio, aka Michelangelo Merisi (1571-1610), in this visceral epic that glows like one of the painter’s original masterpieces in this imagined drama from Michele Placido.

Accused of murder in 1609 the maverick painter flees the depraved bacchanalian world of 17th century Rome but is unable to escape the clutches of Louis Garrel’s inquisitorial Catholic investigator Ombra (a fictitious character) or the lustful advances of Isabelle’s Huppert’s Marchesa Costanza Sforza Colonna whose family offers him sanctuary in Naples while urging the Pope to offer clemency until Caravaggio’s suspicious death in Porto Ercole the following year.

Scamarcio gives an incendiary performance as the legendary ‘bad boy’ who purportedly loved young boys as much as beautiful women, and whose talent for taking outcasts and sinners and transforming them on the canvas into saints and madonnas is almost eclipsed by his salacious lifestyle.  

Caravaggio has long captured the imagination of art lovers and world specialists – such as Andrew Graham Dixon – and Placido’s ambitious art thriller certainly evokes the savage mystery of the era with stunning set pieces, an emotive original score and Michele D’Attanasio’s painterly camerawork although it often feels like the script, co-written with Sandro Petraglia and Fidel Signorile, overelaborates the sensationalism at the expense of historical facts.

Caravaggio’s talent as the era’s most spectacular painter elevates him into the realms of superstardom while he himself remains a grounded character despite his undeniable genius. Scamarcio really brings out the humanity in the painter and his vulnerability as an artist and convinces us of his efforts and his subsequent failure to rise above the negative impact of the nefarious characters surrounding him. This thrilling expose of the life and times of a legendary and revolutionary artist is lusciously mounted entertainment on a grand scale. MT

ON RELEASE IN FRANCE and in the UK later in 2023 | ROME FILM FESTIVAL PREMIERE

Dir: Jan De Boni | Cast: Keanu Reeves, Dennis Hopper, Sandra Bullock, Joe Morton | US Action thriller 116′

An exemplary piece of high concept filmmaking that provides plenty of bang for your buck. Director Jan De Bont does a lovely job martially the components with results that really look as dangerous as they’re supposed to with none of that obvious CGI and wobbly steadicam that makes watching modern action films such a trial; and there’s none of that glee in indiscriminate death on a vast scale that disfigures the Die Hard films.

Keanu Reeves is a charmingly dedicated hero, and Sandra Bullock gives the performance that made her a star (her distress when she thinks she’s hit a child’s perambulator is genuinely touching).

Dennis Hopper is obviously having the time of his life playing “an encyclopaedia of bombs” whose line “Poor people are crazy. I’m eccentric” is worthy of the Oxford Dictionary of Quotations. @RichardChatten

NOW ON PRIME VIDEO

Dir: Maria Speth | Doc, Germany 217′

A weighty documentary Fred Wiseman would be proud of takes an in-depth look at the life of dedicated German teacher, Dieter Bachmann, and his teenage class in Stadtallendorf near Marburg.

Germany has learnt a long lesson in the aftermath to the Second World War, and the atrocities of Nazism are still drilled into  pupils, particularly here in a city infamous for its history as a munitions centre that made use of forced labour in the local factory, now buried by its roof covering of trees.

Of course nowadays the class is also made up of immigrant communities from Turkey, Bulgaria and Russia who see the world from a different perspective: ‘the war’ has another meaning for them, but they have all suffered crisis back home and find themselves adjusting to another country, and a diverse set of rules.

Laid-back and placid, Bachmann strikes a jovial figure in his youthful garb of jeans and tee-shirt, despite nearing retirement. His speciality is music and art, along with the classic curriculum of German and Maths, and his comforting phrase “Wir schaffen das” (“We’ll handle it”) makes him a popular teacher and mentor all round. The length of the film allows us to get to know the man himself and appreciate his methods and the enormity and subtlety of the task at hand – not only instructing the next generation, but making them into culturally sensitive, compassionate individuals.

Away from the didactic sounding title, the film unfolds as an enlightening and immersive study of classroom multiculturalism along the lines of Laurent Cantet’s 2008 docudrama Entre les Murs (The Class) and Nicolas Philibert’s classic Etre et Avoir (2002) with Bachmann being the German equivalent of the film’s Georges Lopez. A Hollywood equivalent Dangerous Minds, where Michelle Pfeiffer takes on a monumental task as a retired marine turned teacher in a deprived and racially divided community in California, shows just how challenging teaching can be. MT

ON RELEASE FROM 9 DECEMBER 2022

Dir.: Andrey Paounov; Cast: Samuel Finzi, Iossif Surchadzhiev, Zahary Baharov, Svetoslav Stoyanov, Leonid Yovchev, Malin Krastev; Bulgaria,/Luxembourg/ Portugal 2021, 108 min.

A first feature for Bulgarian director Andrey Paounov, who honed his craft as a documentarian,   January sees two men and a bird trapped facing an existential crisis in a snowstorm in the middle of nowhere.

January is the coldest month in Bulgaria, and no-one in their right mind would venture outside, particularly into the woods, where wolves and vampires lurk in a ghostly white wilderness.

Borrowing from Beckett and Lynch and based on a play by Yordan Radichkov, Paounov and his English co-writer Alex Barrett (best known for City Symphony) drench their evocative icebound thriller in post-socialist gloom, aesthetically it is close to the “Dybuk” features set in Eastern Europe in the late 1930s.

In a small hut next to an old industrial building, the guard (Finzi) and an old man (Surchadzhiew) are bored, trying to master the crossword. They are waiting for a certain Peter Matorow, who went out early in the morning with his sled and gun to drive to the nearby city. Matorow seems to be in charge, and able to find a solution for the current impasse. Soon twins (Baharov/Stoyanov) arrive, wanting to know about the whereabouts of said Matorov. They are threatening, and the guard tries to pacify them. Finally, Moratow’sled arrives, but the horse carries just his gun and a wolf frozen to death.

The arrival of a priest (Yovchev),makes everything even more enigmatic, and the ritual of the horse returning only with a gun and a frozen wolf is repeated four times – without any hope for the return of Matorov. After dark, a group of vampire hunters arrives, accusing the old man of being dead for a long time. But they leave in the sled with the now customary outcome. In a brilliant scene towards the end – shot in glittering colour in contrast to the sombre black-and-white of the rest of the feature – the guard, by now contemplating suicide, visits a 1950 night club, where the bartender (Krastev) treats him like an old friend.

DoP Vasco Viana composes images of a prison like existence, where the two men live in the shadow of the plant next door, whilst they are reduced to opening walnuts with a self-built apparatus. It is clear, that the huge building next door represents communisms, old photos of their leaders are laying around, decaying like the building itself. On the other hand, the modern oligarchs, who are ruling the country now, are not much better, the twins just want to participate in the exploitation of their home country. The Guard is trying to keep the vampires at bay, and save something of the past for himself and the old man, before becoming more and more suicidal. Symbolically, the crow kept in an cage and suspected to drink the local brew of rakia, is uncertain to leave its cage after given the chance to fly away.

JANUARY is compelling first feature , but the running time doesn’t  legitimsed by the rather thin narrative..

AS
***1/2

Dir.; Noah Baumbach, Cast: Adam Driver, Greta Gerwig, Raffey Cassidy; USA 2022, 136 min.

The curse of the festival opener was alive and kicking at Venice when this feature has its world premiere: Noah Baumbach’s White Noise, an adaption of Don de Lillo’s 1985 novel, is simply an embarrassment. In New York, Jack Glasdney (Driver) and Babette (Gerwig) have a brood of kids to look after from their own fraught marriage and earlier relationships. And they fail miserably: the toddler and younger children are a drain on their energy and, the older ones – including teenager Denise (Cassidy) seem more mature than their parents. Then an ecological disaster comes to town, and Jack is caught in the fallout. Mysticism and graphic violence ensues, but no plot resolution of any kind. DoP Lol Crawley does his best to keep the frantic tempo going, but it’s all empty noise.AS

ON RELEASE on NETFLIX FROM 9 DECEMBER 2022

Dir: Maria Shrader | Cast: Carey Mulligan, Zoe Kazan, Patricia Clarkson, Andre Braugher, Jennifer Ehle, Angela Yeoh, Zach Grenier, Ashley Judd, Samantha Morton, Gwyneth Paltrow, Angela Yeoh | US Drama 129′

Maria Shrader’s worthy trudge through the Weinstein saga sees women tearing up at the slightest provocation – even those who never met him – but there’s one consolation: Carey Mulligan.

She plays Megan Twohey, one of a pair of New York Times journalists, along with Joe Kazan’s Jodi Kantor, who wrote a harrowing Pulitzer Prize-winning expose of the prolific sexual crimes committed by Hollywood mega-mogul Harvey Weinstein back in 2017, when the scandal finally broke.

The City of London was my domain for nearly fourteen years, and so no stranger to sexual shenanigans on the trading floor. I was once asked to keep a Norwegian shipping magnate ‘happy’ after a night out with fellow brokers. Naturally I froze in anger and disbelief back in the day as a twenty something graduate used to more respectful behaviour from the opposite sex. But hey – you faced up to them, or moved on, or got over it. It was very much the territory for working women in a man’s world, particularly attractive ones.

Nowadays we have the #MeToo brigade who – quite rightly – objected to their big bosses’ beastly behaviour. Not just a slap and a tickle but hard core sex. One of them, Rowena Chiu (Yeoh), complains Weinstein asked for ‘just one thrust’. The whole idea is faintly ridiculous.

She Said is sober, well-acted but terribly dull because we know what’s going to happen as the torpid narrative, adapted by Rebecca Lenkiewicz, trundles along solemnly with the two tracking down rumours and substantiating the umpteen financial settlements that allowed Weinstein to avoid legal proceedings in preying on actresses and assistants for decades. Nearly 90 people would eventually agree to share their stories about Weinstein – who we never see – although we do hear his stentorious voice during a telephone call. The women affected included Gwyneth Paltrow, Angelina Jolie, and Ashley Judd (who plays herself).

The reporters work would also spawn a book: She Said. And that literary tome provides the basis for this earnest but bland account of the take-down of the most powerful man in the movies who is now serving a 23-year sentence for rape and sexual assault.

Mulligan saves the day as a pre-possessed and powerful reporter, softened by motherhood, but still ‘having none of it’; Kazan’s Jodi feels she’d be more at home running a knitting class, but her sympathetic face seems to do the trick in getting the information out of run-down mothers and film execs who were clearly devastated by their casting couch experiences. The rest of the cast is supportive: Samantha Morton’s Zelda Perkins stands out as the most grounded, philosophical and convincing victim, Patricia Clarkson is solid and reliable as the NYT editor who guided some of the era’s most seismic investigations. Shame then that the real villain of the piece is nowhere to be seen. Who would play him? MT

NOW IN CINEMAS

Dir.: Mark Jenkin; Cast: Mary Woodvine, Edward Rowe, Flo Crowe, John Woodvine; UK 2022, 91 min.

Enys Men is a surreal leap forward for Cornish auteur Mark Jenkin after his striking 2018 debut Bait. Once again we’re back on the Cornish coast with another unorthodox feature and Jenkin taking full control of the artistic process: from directing and writing to creating the soundscape. The setting, a small island off the Cornish coast, plays the lead role in the mystery and we, the audience, join the human cast in groping the way through a maze where a beast is waiting in prey.

Mary Woodvine is the red mackintosh wearing ‘Volunteer’ – a sort of caretaker and biologist. And that red Mac strikes fear into our hearts – a pavlovian response from Nic Roeg’s Don’t Look Now. Mary’s lonely days are spent documenting the genesis of lichen on six experimental flowers with distinctive red stamens. Nightfall sees her tucked up in bed with Edward Goldsmith’s 1972 bestseller “A Blueprint for Survival”.

From her flower diary we know the year is 1973, and the month is April, and the film is drenched in this seventies atmosphere. The colours produced by the 16mm camera reflect the bleached out and grainy look of the era. A radio – Mary’s only contact with the world beyond crackles away, a live wire of conflicting channels zinging with static, just like wirelesses did back then. But this wireless is the only way of communicating with the outside world, apart from sporadic visits from a boatsman (Rowe) who offers provisions and carnal delights for the lady of the house. The forth protagonist, an ecclisastic (J. Woodvine), is straight out of Wicker Man, and, together with the pagan statue on the island, creates a menacing ambiance of mounting dread and expectancy for the plantswoman. Her younger ‘Alter Ego’ (Crowe) occasionally rears  her head to remind us of a history suggestive of violence, and the scar on the woman’s stomach is testament to some kind of past brutality .

All this minimalism brings to mind Bresson, but a certain opaqueness very much echoes Resnais. Repressed love and terror mingle with images of angelic children all dressed in white suggesting some kind of pagan ritual. Enys Men scratches at the edges of horror and the tropes are all there along with the evocative soundscape that signals a change in the emotional atmosphere. The past has taken its victims, and the future is unpredictable. The missing minotaur is always just hiding beyond the next rock, ready to pounce.

ENYS MEN is pure cinema, constantly catching the audience by surprise. As we search for visual clues it soon becomes clear there is nothing to understand in this enigma open to individual interpretation. Although the lack of a concrete conclusion may frustrate many audiences, Enys Men sees Jenkin developing his visual style and language as an unique auteur. AS

IN CINEMAS FROM 23 JANUARY 2023

Dir: Mario Martone | Cast: Pierfrancesco Favino, Francesco Di Leva, Tommaso Ragno, Aurora Quattrocchi | Italy, Drama 117′

Mario Martone’s moody reflective thriller Nostalgia, adapted from the novel by Ermanno Rea, sees a man returning to his past in Naples having made his mark in the Middle East. But this attempt to turn back time and is not greeted with the warmth he had hoped for in all quarters.

Martone floods the screen with the faded glory of the southern Italian seaport in a lush and classically styled rumination that contrasts the positive outlook of his central character Felice Lasco (Favino) with the bitter resentments he finds back home. His moribund mother Teresa (Quattrocchi) is overjoyed to see him but his attempts to reconnect with an old sparring partner, the infamous gangland ‘Badman’ Oreste Spasiano (Ragno), are less successful to say the least. Their nefarious past is pictured in flashbacks – and he is warned to keep away from the crumbling neglected backwater of Rione Sanita where Oreste now hangs out under the protection of his acolytes.

But although Felice is determined to gloss over the ups and downs of his complex relationship with Oreste, who tears up at their reunion, an unresolved incident from the past is still a sticking point between the two men: one who has found personal and professional success, the other failure and a life of crime. Naples is very much a character here and the simple but satisfying plot works to the film’s advantage allowing Martone to embellish his local characters, the most memorable is the local priest Don Luigi Rega (Francesco Di Leva) who still provides a spiritual touchstone to the community from his base in the vast cathedral. Buzzing around on a motorbike in full ecclesiastical regalia he is a comforting but commanding figure, his steadfast moral compass providing the guiding light. But Felice is ultimately a tragic figure, trapped by his determination to heal the past and his inability to face the truth. MT

NOW IN CURZON HOME CINEMA

Dir: James Gray | Cast: Anne Hathaway, Anthony Hopkins, Jeremy Strong, Domenick Lombardozzi | US Thriller, 115′

Anthony Hopkins and Anne Hathaway star in this coming of age story about growing up in Queens in the 1980s. Armageddon is a solid but rather bland, sentimental drama that feels overlong and underwhelming, from the director who made his first New York-based drama Little Odessa – about a family of Soviet Jews – at the tender age of 25.

Armageddon Time returns to the same territory with another working class Jewish family trying to fit in. And there are some spirited outbursts both at home and in the classroom, although for the most part it’s a toned down rather docile affair. The plot lines are predictable, and references to the Holocaust are a hollow echo of much more moving dramas on the subject of antisemitism. The oblique references to the local influential Trump family feel like cheap point-scoring with intentionally unlikeable cameo roles from John Diehl as Donald Trump’s father Fred, and Jessica Chastain as the hard-faced US judge Maryanne Trump, along with the fact that the Graff family hail originally from Ukraine.

The youngest boy Paul (Banks Repeta) is possibly an autobiographical portrait of the young James Grey – unruly, artistic and at odds with the rest of the striving family, particularly his hot-headed father (Jeremy Strong). He only really connects with his grandfather Aaron (Hopkins) who will finance his private education after the subversive troublemaker gets a bad name for himself at his local ‘comprehensive’, with his black friend Johnny ending up taking the rap. Celebrated cinematographer Darius Khondji tries to lift Armageddon out of the torpid settings but, all and all, this brings nothing new to the party in contrast with Gray’s later more avantgarde sci-fi outing feature, the space-hopping Ad Astra (2019). MT

ON RELEASE NATIONWIDE FROM FRIDAY 18/11 |  CANNES FILM FESTIVAL

Dir: Gavin Fitzgerald | US Doc 98′

Whoever thought there was money to be made from a pervasive variety of bird that many regard as a pest? Well – as its title suggests – there’s millions to be made from the common or garden pigeon. Award-winning Irish filmmaker Gavin Fitzgerald takes a sympathetic look into the lucrative sport in his latest documentary Million Dollar Pigeons.

Pigeon fanciers from all over the world – from Thailand to America – enter their feathered friends in a high stakes competition – a sort of avian Tour de France – where the winners – from all walks of life and cultural backgrounds -stand to make millions of dollars from the humble and mostly unwanted winged athlete.

Fitzgerald’s skill as a director and cinematographer make this visual appealing as well as fascinating as another study of human exploitation of the animal kingdom. The birds become a unifying force for good in creating meaning in people’s lives; a blank canvas for their hopes and dreams – rather like we saw in Dark Horse and the recent Middle Eastern doc Kash Kash: Without Feathers We Can’t Live. But the modest birds can also have a negative impact on lives, when they become a divisive tool in race to make money. Fitzgerald explores the sport in general and probes the lives of a handful of fanciers competing in the sport. MT

ON RELEASE FROM 26 NOVEMBER

Dir: Oliver Hermanus | Cast: Bill Nighy, Tom Burke, Alex Sharp, Aimee Lou Wood | UK. 102 mins

The English middle class world of the 1950s is gracefully captured here in a sombre but sonorous drama about a dying civil servant. What makes it particularly interesting is that the director is South African Oliver Hermanus and the screenwriter is the Japanese born novelist and Nobel prize winner Kazoo Ishiguro (Never Let Me Go) whose story of discrete mid 20th sensibilities was inspired by Akira Kurosawa’s 1952 masterpiece Ikiru (To Live).

Quintessential English maxims like ‘keep calm and carry on’ and ‘never explain, never complain’ immediately spring to mind with reference to Living‘s noble main character Mr Williams who is the embodiment of a dissipated but dignified gentleman of a certain age – and played wistfully by Bill Nighy – whose world is rocked by the revelation that he is suffering from terminal cancer. But life goes on in the corridored confines of his Civil Service offices where he heads a department dedicated to planning applications, staffed by his young assistant Mr Wakeling (a thoughtful Alex Sharp), who guides us through the film, and secretary Margaret (Aimee Lou Wood of Netflix’ Sex Education) who could best described as gently ‘petillant’, rather than ‘bubbly’ – a quality normally ascribed to female typists in the small ads, back in the day.

Moving but never sentimental, one of the more touching scenes pictures Mr Williams at home and desperately rehearsing the words to explain his diagnosis to his son and daughter-in-law who are unaware of his presence in their unlit sitting room, and at the same time, talking amongst themselves about asking him to move on, And this tragic event sets in motion Mr Williams’ determination to start living before he dies.

In Brighton, regarded as a louche seaside setting back in the 1950s, Mr Williams comes across Mr Sutherland (Tom Burke) a writer of questionable origins, and engages on a night of excess that unleashes in Mr Williams an impressionistic reverie of nostalgic thoughts and ideas as he reflects back on his life. These scenes take on a dreamlike quality expressed by vibrant juxtaposed images, in contrast to the crisply formal daily procedural he has grown accustomed to in the offices the Civil Service in County Hall.

Returning to London he encounters Margaret and decides to invite her to join him in his final ‘hurrah’. At this point he also takes to singing a plangent Scottish folk song as he swings in the children’s playground at dusk. The final act briefly explores Mr Williams’  last planning project and labour of love – a children’s playground built on a former bomb site in the East End. And this provides the film with a whiff of internecine controversy amongst his staff who claim the iniative as their own. The final scenes are slightly underwhelming but nevertheless provide a satisfying finale to this elegant and rather lovely look back in time. MT

NOW ON RELEASE IN CINEMAS NATIONWIDE.

Dir/Co-Wri: Edward Berger | Germany, War thriller. 147′

A century after the ‘Great War’ (1914-18) took its toll on 17 million lives,  Erich Maria Remarque’s classic German language novel ‘All Quiet on the Western Front’ finally comes to the big screen in this elegant arthouse adaption from Edward Berger (Jack). Previous Hollywood versions pale into insignificance alongside this passionate and quietly devastating epic, seen from the unique perspective of a German soldier.

Like many teenagers throughout Europe Paul (Felix Kammerer) is thrilled at the chance for adventure and joins the ‘glorious’ war effort along with his school-friends after a rousing call to arms. Little did they know the fate that awaited them.

The war was well under way when the chums Müller (Moritz Klaus), Kropp (Aaron Hilmer), Tjaden (Edin Hasanović) and the slightly older professional soldier Katczinsky  or “Kat” – (Albrecht Schuch) finally arrive at the front expecting an exciting run of it before finally marching to victory as German heroes. Just like the Allied forces of Tommies and ‘Poilus’ were hoping for on the other side.

Berger and his co-writer stay reasonably close to the original telling their harrowing story in a thrilling and lyrical anti-war action drama that captures the spirit of English war poet Wilfred Owen’s famous ‘Strange Meeting’ without ever stinting on the brutal reality of tday-to-day violence and terrible bloodshed. Some mean feat. And yet the film remains compulsive for well over two hours.

Paul and his fresh-faced comrades at arms spend their days lurching from the screaming horrors of trench warfare to the hysterical joy of ‘downtime’ when they steal a goose and roast it, or catch sight of some nubile French girls in a distant meadow. Experiences that see them desperately longing to be back home, away from the nightmare that is their daily reality, and one that foreshadows a doomed future made all the more poignant because only we know the truth.

Rather than confusing us with complex military strategics, Berger fills his film with the mundane yet fascinating detail of the wartime experience: blood-soaked uniforms of the dead are routinely collected from the battlefield and washed in steaming vats before being recycled on to the next eager soldier, name tags of the dead still attached; a body hangs naked and legless from a tree, its uniform blown off by the sheer force of a shell; intimate letters are read aloud revealing an unspeakable tragedy from back home.

Meanwhile German officers enjoy opera music while they dine in splendour, or munch on crisp croissants in a railway carriage at Compiègne begging the French for an armistice through their learned politician Matthias Erztberger (Daniel Bruhl). But Thibault de Montalembert’s Marshal Foch says, decidedly: “Non”.

After the truce is eventually signed – without compromise – a German general informs his emotionally broken troops – only Paul is still fighting – that they have one last chance to save the nation’s honour before the war officially ends at the 11 hour of the 11th day (November 1918). For once, a literary adaption worthy of the original.

Netflix’s German-language adaptation broke BAFTA history with a record-breaking 14 nominations and seven wins, including Best Film, Best Director, and Best Adapted Screenplay. MT

NOW ON NETFLIX | All Quiet on the Western Front won numerous awards including 4 Oscars, one for BEST INTERNATIONAL FEATURE FILM and several BAFTA awards.

Wri/Dir: Louis Garrel | Cast: Louis Garrel, Noemie Merland, Roschdy Zem, Anouk Grinberg | France, Romcom, 100′ 

At a loose end emotionally after his wife dies a young man becomes obsessed with his mother’s new lover who has just come out of prison.

The Innocent is Garrel’s most enjoyable outing since turning director. It takes a frivolous idea and spins it into a witty and soulful story that also works as a love letter to Lyon and its gourmet reputation and an homage to the French comedy capers of the sixties with noirish undertones primped by a lively original score from prolific composer Gregoire Hetzel (Incendies). With a starry cast of Noemie Merlant, Roschdy Zem and Garrel himself, this is an entertaining romp.

Abel (Garrel) certainly has mixed emotions about Michel (Roschdy Zem), convinced that his mum Sylvie (Anouk Grinberg) will end up a victim – again – when her new lover returns to his life of crime, although the couple’s marriage certainly seems like a bed of roses. And when they start a new floristry business in Lyon’s trendy Corbas district Abel, who works in the local aquarium, is appalled to hear them having raunchy sex in the stockroom. Sylvie’s romance reminds him how much he misses his own lost love and he is driven to tears laying flowers on her grave in the shadow of Lyon’s famous Notre Dame de Fourviere, a scene that gives the film its tender touch of melancholy.

But Abel certainly has mixed emotions about Michel – and some of them are downright hostile. So with his spunky new girlfriend Clemence (Merlant) Abel hatches a mischievous plan to spy on Michel at work, and this neurotic quest to dig the dirt on his father in law provides the film with its rich vein of humour. But Michel is no fool and calls their bluff with embarrassing results as we start to wonder whether he really is a reformed character. 

But, true to form, Michel is soon back to his old tricks while fronting as a delivery guy for the furniture shop ‘Conforama’. Abel soon finds himself inveigled into the robbery involving caviar as the movie moves into heist mode, with Clemence saving the day. Garrel skilfully navigates the tonal shifts between comedy crime caper and soulful romcom in a film that ends with mixed emotions of a different kind as the romantic tables are turned. MT

IN CINEMAS FROM 25 AUGUST 2023

Dir.: Frances O’Connor; Cast: Emma Mackey, Alexandra Dowling, Amelia Gething, Fionn Whitehead, Oliver Jackson-Cohen, Adrian Dunbar; UK/US 2022, 130 min.

This big screen imagining of Emily Bronte’s life is a wild affair that will offend scholars but delight cinema audiences. Emma Mackey is dynamite as the 18th century poet and novelist who dares to have sex with a curate and revolts against patriarchy and her two sisters, who are only too happy to conform.

Emily is a rebel with a cause: the early death of her mother has seen two of her Brontë sisters Charlotte (Alexandra Dowling), Anne (Gething) cow-towing to their stern, rather blustery father Patrick (Dunbar), who regularly hammers home the word of God from the pulpit. His Byronesque son Branwell (Whitehead) will become a role model for Emily: she copies his tattoos proclaiming ‘freedom of mind’ and turns a blind eye to his opium habit which will be his undoing.

The new curate William Weightman (Jackson-Cohen) is handsome beyond belief but deeply wedded to God. All her sisters swoon over William, but only Emily takes action: their affair is passionate and sweepingly romantic, firing up her senses and sublimating real life into her poems and famous, and only, novel ‘Wuthering Heights’.

Alas, William gets cold feet, the fear of God and Patrick, his stand-in on Earth, plays on his conscience, driving him to terminate their affair. But on the eve of Emily’s departure with Charlotte to Brussels, the curate rues his decision, and gives a letter to Branwell, begging Emily to stay and be his love. The remainder of the drama plays out in this mood of utter devastation of mind and body, before the final triumph of ‘Wuthering Heights’.

The plot turns on the letter episode: O’Connor does not go with the submissive suffering of the three women – she hurtles headlong into Thomas Hardy territory and ‘Jude the Obscure’. But although Branwell is a less evil creature than Hardy’s Arabella, he still plays God to the detriment of the lovers.

DoP Nanu Segal makes nature as foreboding as the lovers’ souls with the English countryside blossoming in tune with the lovers’ springtime emotions and brooding in the murkiest of winter hues, as the camera exploring the ghostly atmosphere of the moors in gloomy tracking shots. Haworth, the village, where Emily is seen as an outsider, is shown as a bastion of local traders and shopkeepers.

Abel Korzenioski’s Gothic score ramps up the romance but the self-defeating story perseveres with its passionate tale of woe. The only slight drawback in this gut-wrenching tale about a woman colliding with a world run by men is the self-indulgent running time that takes away the sting of the bitter male/female confrontations. Although O’Connor plays fast and lose with a few literary facts this is no place for anaemic scholarly retrospection – Emily is a drama seen through the prism of female emancipation; a vivid re-imagining of what could have been. AS

ON RELEASE FROM OCTOBER 14 2022

Director: Stephen Frears| Cast: Sally Hawkins, Steve Coogan, Harry Lloyd, James Fleet, Jessica Hardwick, Robert Jack, John-Paul Hurley, Sinead MacInnes | UK Drama, 108′

Sally Hawkins plays the researcher who discovered the remains of Richard III in this low-key drama from director Stephen Frears. The result is entirely watchable but ultimately a little uneven, as if it can’t quite decide which story it wants to tell.

Hawkins plays Philippa Langley, a divorced mother of two young teenage boys, who’s passed over at work possibly due to suffering from chronic fatigue syndrome. When she takes one of her sons to see a production of Richard III, she feels an instant kinship with the King (played by Harry Lloyd) and is compelled to learn more about his life.

After becoming a member of the Richard III Society and doing some diligent detective work, Philippa becomes convinced Richard’s remains are buried beneath a car park in Leicester. However, she meets continual resistance from various Leicester authorities, who are then only too pleased to take all the credit once Philippa’s hunch turns out to be correct.

Understandably, given the similar based-on-a-true-story premise, Frears has reunited a significant number of the creative team behind his 2013 hit Philomena, including co-writers Steve Coogan (who has a token support role as Philippa’s supportive ex-husband) and Jeff Pope. Also on board is Philomena’s composer, Alexandre Desplat, who opens the film with a bizarre pastiche of Bernard Herrmann’s theme for Psycho, setting entirely the wrong tone.

That tonal inconsistency continues throughout the film, as the script cycles between several different story aspects seemingly unable to settle on whether it wants to be a fantasy-tinged tale of self-discovery, a symbolic battle against the establishment (men) and injustice, or a heart-warming, lightly comedic family drama. In the end, in trying to be all three elements at once, it fails to fully satisfy in any of them.

Hawkins is on her usual excellent form as Philippa, but it frequently feels like she’s only been given one note to play. On top of that, the conceit of having her essentially haunted by Richard III (Lloyd appears by her side repeatedly, with very little dialogue) largely backfires because she starts to look crazy, especially when passers-by observe her talking to herself in the street.

The script’s most compelling element is the way it addresses how history is written – Philippa isn’t just exhuming Richard’s remains, she’s also restoring his maligned reputation, compounded through the ages by Shakespeare’s play. The film attempts a parallel in the way it suggests the establishment tried to write Philippa out of her own story, but it ultimately comes off as clumsy, something that isn’t helped by a misjudged ending that’s almost laughably sanctimonious and fails to ring true. Matthew Turner

NOW IN CINEMAS NATIONWIDE from FRIDAY

Dir/Wri: Matthew Saville | Cast: Charlotte Rampling, George Ferrier, Marton Csokas, Edith Poor | Drama, 95′

Charlotte Rampling steals every scene in this poignant if predictable drama from debut director Matthew Savile. Light-hearted and upbeat Juniper also showcases the verdant landscapes of Auckland captured on the widescreen by Marty Williams.

Ruth (Rampling) is a prickly English wartime correspondent convalescing in her son Robert’s (Csokas) country house in New Zealand where she has wised up to his ulterior motives – a need for financial support and to act as a rudder for his unruly teenage son Sam (Ferrier). Sam has no wish to look after a cantankerous old woman and is furious about her sleeping in his late mother’s bedroom.

A keen battle of wits develops as Ruth and Sam find common ground as intergenerational tearaways with the same rebellious take on life, although Ruth has the edge in this amusing character drama that shares certain similarities with Justin Kurzel’s recent hit Nitram, without the incendiary power and implications of that thriller.

Rampling brings out the humanity in Ruth whose eloquent resolve is unaffected by her regularly hitting the gin bottle and calling a spade a spade without ever losing her cool determination not to be outwitted by a petulant grandson who has recently lost his mother and been expelled from school, and eventually uses him to achieve her own benevolent ends.

Avoiding sentimentality and astute in his observation that age and infirmity have no bearing on a person’s innate character drives, Juniper is a witty and well-written debut taking its clever title from the Juniper berry that goes into making gin. Ruth is a courageous woman whose desires are undimmed by her increasing years bringing to mind Dylan Thomas well worn poem: “Do not go gentle into that good night…Rage, rage against the dying of the light”. MT

ON RELEASE FROM 23 SEPTEMBER 2022

Dir: Jean-Marc Peyrefitte | Cast: Andre Dusollier, Jacques Gamblin, Anna Mouglalis, Astrid Whettnall, Laura Benson | France, Drama 108′

Jacques Gamblin is the star of this jaunty political drama inspired by on real events surrounding an almost forgotten French president Paul Deschanel (1855-1922).

Paris in the roaring 1920s and a transformational time for French politics in the wake of the Third Republic. President Georges Clemenceau (Dussollier) aka ‘The Tiger’ for his contribution to the Allied Victory, has just been ousted from office by a forward-thinking and sharp-witted successor Paul Deschanel (Gamblin) a radical reformer and inspired orator. Deschanel realises his task is to transform the post world war lives of the French people whose battle cry is: “you won the war, now let us win the peace”. Meanwhile the Treaty of Versailles is being signed, with Germany the last to put ink to paper. On his victory the new president launches into a raft of sweeping reforms including the vote for women – poopoo-ed by Clemenceau – ridding France of the nightshift in factories, along with the death penalty – were amongst his most positive social changes.

In his first feature French director and writer Jean-Marc Peyrefitte freely admits to embellishing the storyline co-written by Marc Syrigas, ramping up the sparring between Clemenceau and Deschanel to give the film its comedy elements and adding a picaresque even whimsical quality to an often poignant drama about a man whose fervent desire was to better his country recovering from the First World War. But this humanist side of his character also gave rise to deep anxiety, and to remedy this his doctor prescribed a controversial barbiturate called Veronal – later withdrawn from use – that led to a famous episode of him sleepwalking off the back of train, during a presidential visit which culminates in a painterly stay in the French countryside with a family of yokels. Anna Mouglalis offers a shoulder to cry on and much valued pillow talk to both men who apparently shared the same ‘Salon’.

Peyreftte cleverly dovetails both presidents into news highlights from the 1920s archives. And these along with stylish Art Deco settings and a score of appropriate musical hits from the era add to the allure of this intelligent and jaunty interwar drama about a man slowly losing his mind. MT

NOW ON RELEASE IN FRANCE

Dir: Jerome Salle | Cast: Gilles Lellouche, Joanna Kulig, Louis-Do de Lenquesaing, Michael Gor | France, Action thriller 122′

Gilles Lellouche brings some much needed Gallic charm to this chilly political espionage outing co-written and directed by Jerome Salle and based on real events.  

Kompromat is a story that couldn’t get much grimmer if it tried in shadowing the current state of affairs in Russia. Lellouche plays affable French diplomat Mathieu Roussel who is thrown into jail in subzero Siberia on a flimsy charge of child pornography. In reality he is being framed by the FSB in a ‘no-win’ situation known as a ‘Kompromat’. But Matthieu is mystified as to why, in a plot that only goes to underline just how impossible his situation is when up against the Ruskies.

You can’t help feeling sorry for Mathieu when it later emerges his marriage to French wife Alice (Lasowski) is is also doomed. They are briefly seen in a lukewarm exchange before the authorities arrive to arrest him in a violent incursion. Later Alice returns to France with Rose, but not before filing a complaint about him to the authorities.

So begins a Kafkaesque nightmare of epic proportions as Mathieu takes on the authorities from a weakened position. Friendless and down on his luck, he turns to a mirthless Russian lawyer called Borodin (Godunov) who manages to get him released on an electronic tag. Then there is Louis-Do de Lenquesaing’s sharp-suited French ambassador, who briefly swings into action but to no avail. A Russian woman called Svetlana (Kulig) – whose marriage is also in trouble – supplies a frost-bitten romantic frisson. The two had briefly danced together at a work do, and she enables his bid to escape by supplying a mobile phone. But can he really trust her as he makes his way across the frozen wastelands in this dour but watchable thriller. MT

NOW ON RELEASE IN FRENCH CINEMAS | 12 SEPTEMBER 2022 

Dir/Wri: Antonia Campbell-Hughes | Cast: Cosmo Jarvis, Rhys Mannion, Claes Bang | Drama

This enigmatically titled thriller is the confident feature debut of seasoned actor Antonia Campbell Hughes who certainly knows how to create atmosphere even if her writing needs some fine-tuning.

Cosmo Jarvis leads in a pent-up performance as Hamish Considine a nihilistic young man whose past comes back to bite him with tragic consequences after a motorway accident unleashes a lifetime of suppressed emotional baggage.

Campbell Hughes creates a terrific sense of place in the rain-lashed countryside of Ireland, And it’s here where Hamish returns to visit the grave of his Irish-born aunt and deal her estate – a desolate house – on behalf of his pragmatic father, an expat businessman (a bearded Claes Bang who we only see on zoom). Outwardly blasé and self-assured Hamish soon turns out to be anything but after his car collides with another vehicle setting in course a cataclysmic chain of events as he pieces together his childhood to makes sense of the present.

The crash has destabilised Hamish physically and mentally but he shrugs it off stoically discharging himself from hospital too early with a severe concussion. When the only survivor of the other vehicle – a 17 year old livewire called Evan (a brilliant Mannion) – drops round to the house the two develop an almost surreal bond as Hamish is sucked into his mother’s homeland, feeling a palpable connection with the locals who share their own experiences of growing up with her and her sister.

A humble cow in Evan’s family farm becomes the symbol of this cherished motherhood and the fear of her being slaughtered in the abattoir nearby has Hamish reliving the devastation of losing his own mother when he was only a boy. Evan’s volatile personality comes to represent a seething life-force for Hamish drawing him inexorably to the past until he realises there is no going back and no way forward. It Is In Us All is not much of a thriller, in the traditional sense, but certainly a spellbinding look at how places create emotional memories that bind us eternally to the past. MT

UK AND IRISH CINEMA AND DIGITAL RELEASE DATE 23 SEPTEMBER 2022

Wri/Dir: Lasse Hallstrom | Cast: Lena Olin, Tora Hallström, Catherine Chalk, Jazzy De Lisser, Lily Cole, Rebecca Calder, Maeve Dermody, Tom Wlaschiha, Anna Björk, Clare Holman, Adam Lundgren, Jens Hultén, Emmi Tjernström, Martin Wallström, Lukas Loughran | Sweden, Biopic Drama, 113′

In this artful family affair Lasse Hallström casts his daughter Tora and wife Lena Olin as the pioneering avant-garde Swedish painter and mystic Hilma at Klint (1862-1944) recognised as being one of the first and foremost abstract painters, before Kandinsky, Malevich and Mondrian.

The elegant painterly styling certainly suits this English language biopic drama about a creative spirit who was developing her ideas sexually and artistically in upmarket Stockholm at a time of rapid artistic change at the turn of the 20th century. The European creative community in general was embarking on a quest for psychological truth and exploring the unconscious through their work, and Hallstrom reflects on Hilma’s evolving modernist style and spiritual leanings in his inspired direction and Ragna Jorming’s floating images and fluid camerawork that echo Hilma’s radical progression from her student days to accomplishment as a full-fledged artist. The focus here is the spiritual inspiration that drives Hilma’s creativity, and her turbulent relationship with the landscape artist Anna Cassel (Chalk).

The film opens with the death of her little sister Hermina (Emmi Tjernström). Their deep spiritual bond would go on to be an inspiration throughout Hilma’s working life. Born into a noble but not wealthy family Hilma’s mother stresses the need for her daughter to find a husband rather than dabble in the dilettante world of art, where only men were considered painters, and even enjoyed an exclusive entrance to the Royal Academy in Stockholm where Hilma studied classical drawing and painting techniques.

Hilma then struggles against a tide of negativity due to the very nature of her radical style and makes no bones about revealing how the spirits inspired her to paint, an approach considered outré and highly questionable back in the day. And to be fair, she does bang on about it almost evangelistically rather than play it down as a subtle and enigmatic adjunct to her talent. She is obsessed with the Austrian philosopher Rudolf Steiner, and shares her spiritual ideas with him to little avail despite his admitting to receiving messages from the soul through the medium of colour.

Lasse Hallström’s well-crafted film will certainly appeal to art-lovers. Although Hilma herself remains an acquired taste, brilliantly portrayed in an impressive double act by Tora Hallstrom and Lina Olin who trace the artist’s life from her early twenties to her late middle age. MT

ON RELEASE FROM 28 OCTOBER 2022

Dir.: Mariano Cohn, Gaston Duprat; Cast: Penelope Cruz, Antonio Banderas, Oscar Martinez, Jose Luiz Gomez, Irene Escolar; Spain 2021, 115 min.

Argentine directors/co-writers Mariano Cohen and Gaston Duprat made an uproarious comedy satire The Distinguished Citizen which never got a decent showing in Britain. So it’s a shame that their ludicrous latest outing is now on general release, and not even Oscar Martinez, the star of the 2016 film, can save it. Films about movie making schemes are notoriously prone to disappoint – and this is no exception. Even the premise feels phoney.

Super-rich entrepreneur Humberto Suarez (Gomez) wants to be remembered as an art lover. So to celebrate his 80th birthday he gets eccentric director Lola Cuevas (Cruz) to adapt a best seller for the big screen with his daughter Diane (Escolar) bagging a role in a drama starring Hollywood duo Felix Rivero (Banderas) and theatre-loving pseudo intellectual Ivan Torres (Martinez) as feuding brothers, who hate each other on and off set.

Cuevas has all her hands full from the get go. The gags are not particularly promising: a rock made of cardboard dangling over the actors’ heads is mistaken for a real boulder. Rivero pretends at one point to have pancreatic cancer, and Torres, testing his rival, tries to make Rivero believe he is a serious actor. Meanwhile lesbian Cuevas sets up a kissing contest between the two men, and ends up doing the most convincing job and leaving Diane gasping for more, the two of them rolling around on the floor to the horror of Suarez senior. Finally, Rivero goads Torres into attacking him, but ends up falling down several floors with tragic consequences.

Official Competition is all glitter and glam with its loud and confrontational characters and a predicable plot-lines. Sometimes the self-parody actually succeeds in spite of itself. DoP Arnau Valis Colomer does his best to conjure up a chaotic ambiance which would make Cecil B. DeMille proud – but this is a tawdry Tinseltown project, not Ben Hur. AS

ON GENERAL RELEASE IN CINEMAS AND EXCLUSIVELY ON CURZON HOME CINEMA FROM FRIDAY, 26 AUGUST 2022

Dir.: Emrhys Cooper; Cast: Fiona Dourif, Donal Brophy, Emrhys Cooper; USA 2021, 95 min.

This first feature film by British director/co-writer Emrhys Cooper is an unstructured, freewheeling comedy bent on creating dramatic confrontations – seemingly just for the sake of it.

NYC based Journalist Parker Schafer (F. Dourif) is at a crossroads – emotionally and career wise – having just lost her lover and a job at “Rogue” Magazine after a shambolic TV award appearance. In desperation she turns to Guru Shuroo (Brophy), also known as Declan, hoping that a weekend at his summer retreat in the Catskill mountains will turn things around.  Ironically, this turns out to be the case, but not the way the guru had in mind. There are some embarrassingly clumsy “solutions” for all concerned: a gay coming-out and childhood sex abuse among them, Schafer admitting to guilt surrounding her brother’s death after introducing him to cocaine. The guru adopts a ‘one size fits all’ approach to healing his patients, and clearly the cast enjoyed themselves judging by those attending the press screening. Cooper and his co-writer Donal Brophy go all out for laughs in a film that has nothing really to say, leaving the audience scratching their heads in amazement. AS

THE SHUROO RETREAT out on demand from 25 July 2022

Dir.: Constance Meyer; Cast: Gerard Depardieu, Deborah Lukumuena, Lucas Mortier, Megan Northam, Florence Janas, Steve Tientchen; Belgium/France 2021, 95 min.

A short synopsis of Swiss director/co-writer Constance Meyer’s first feature film Robust might read like a second version of Untouchables, but luckily it is far superior. Starring Gerard Depardieu, also the leading man in Meyer’s two award-winning short films, this is a subtle comedy of growing-up pains – particularly where adults are concerned.

Pampered and terribly overweight, actor Georges (Depardieu) is playing the spoilt child who craves attention at all costs. Enter Aissa (Lukumuena), security guard – but also a talented wrestler. Aissa is charged by her boss Lalou (Tientchen) to look after Georges, who is on the verge of starring in a new film, a feudal drama set in 1847. Fond of his motorcycle, but crashing it during his nighttime forays, he lives in a posh Paris district where his home is dominated by a huge aquarium, the tropical fish gliding around in total darkness, and somehow assuring the hypochondriac George’s peace of mind.

Aissa not only has to deal with Georges, but also his family and friends: and his four-year old son Gabriel plus a new dog becomes also becomes his responsibility. Sofia, George’s ex-wife and Gabriel’s wants constants updates on the ‘phone, constantly wanting to know if all is well, not that she really cares either way.

One day Georges goes astray in the middle of the night and is set upon by eco-freaks who are easy meat for the well-trained Aissa, who may be the same weight as Georges, but also packs a mean punch. Her on/off boyfriend Eddie (Mortier) is a work college; but Aissa’s real roots are in a high rise block in the 20th arrondissment, where she lives with her little sister and mother. There is just one really ugly scene when Georges pesters Eddie and Aissa enjoying a Chinese meal: the actor makes his (imagined) superiority count: pulling rank on Aissa, and forgetting that she had comforted him hours before, when he had one of his panic attacks.

The running gags are the dialogues from the forthcoming feature film which Georges rehearses with Aissa. “Look at me now, deflated, timid and enslaved like a child”. Kids they may be, but Aissa is relaxed and in charge: soon becoming a team leader and taking on the protection of an important politician. Georges begs Aissa to stay – but Lalou will provide him with a new child minder.

DoP Simon Beaufils make use of an expressive colour palette, giving the narrative a distinct visual appeal. Depardieu and Lukumuena are both subtle and understated in their roles, even though the French star sometimes struggles to stay within “a mere human range”. Robust makes a welcome addition to the sub-genre of “odd couple” features in a humanistic and entertaining observation of human frailties. AS

ON RELEASE DIGITALLY FROM 22 JULY 2022

Dir/Wri: Matt Bissonnette | Cast: Gabriel Byrne, Jessica Pare, Brian Gleeson, Suzanne Clement, Antoine Olivier Pilor, Karelle Tremblay | US Drama, 100′

To the dulcet tones of Leonard Cohen this familiar but feisty love story sizzles with mischievous humour courtesy of veteran Irish star Gabriel Byrne. 

Poetry professor Samuel O’Shea (Byrne) is one of those men who feels the need to chat up every woman he meets – in a well-intentioned way that inevitably leads to love and romance. Now past his prime and feeling dejected due to his wife’s infidelity and a recent cancer diagnosis he takes refuge in the bottle and decides to devote more of his time to his two adult children Layton (Pilor) and Josee (Tremblay) who are both facing difficult choices. But despite all this Samuel will soon embark on yet another flirtation, with another much young woman (Jessica Pare). Once again, falling in love – rather than facing his demons – is his default position.

Writer-director Matthew Bissonnette sets a melancholic tone with a score of memorable hits by Leonard Cohen that works well with the film’s Montreal and Dublin settings. The script is insightful and full of witty one-liners with its reflections on modern life and the generational divide but there are some rather odd interludes where Bissonnette attempts to liven things up with impromptu dance sequences involving the entire cast. Byrne is a charismatic class act perfectly capable of carrying a film without the additional dramatic device of casting a much younger actor as his old dad back from the grave to provide advice and insight from the past, although Brian Gleeson offers sanguine support as the father in question. MT

OUT ON THE 22 JULY 2022

Dir.: Jono McLeod; Cast: Alan Cumming, Clare Grogan, Lulu; UK 2022, 104 min.

Alan Cumming stars in this unconventional documentary about identity and belonging and a man who pretended to be someone else, named the martial arts legend Brandon Lee. Structured in to phases by first time Scottish filmmaker Jono McLeod who revisits his schooldays in an interview with his former classmates and teachers from Bearsden Academy in Glasgow, the 5Cof 1993. The centre of attention is a certain student: Brandon Lee, whose celebrity namesake met his death on set in Hollywood.

This Brandon joined the class late: his mother, an opera singer, had just been killed in Canada in a car accident and Brandon was under the care of his grandmother in Glasgow. Bearsden Academy was as close to a fee paying school as you can get. Little proof of Brandon’s identity was asked required to join the school: just the testaments of private Canadian tutors. But a birth certificate was missing. Headmaster Norman McCloud and his deputy Mrs. Holmes were obviously satisfied. And Brandon’s academic progress gave everyone reason to be happy. He would end up with five straight As, his knowledge of anatomy was so astonishing his biology teacher exclaimed “Brandon teaches me”. Brandon also helped to integrate other students and kept bullies at bay. Even more sensational was his acting, singing – and yes kissing – in the school’s production of “South Pacific”. He was admitted to read Medicine at Dundee University. A fight on a holiday trip with his fellow undergraduated brought the charade to an end: the police found an additional passport on Brandon Lee in the name of Brian MacKinnan. The latter had left Bearsden Academy for Glasgow University to study medicine in 1975.

It turned out Brian, to give him his proper name, had never been to Canada. His mother, posing as his grandmother, had been the motivation for his quest to become a doctor at all costs. After the death of his father – Brian used the family bereavement to skip a tricky physics test – Brian and his mother had plotted even harder to make his second chance a success: In Glasgow, he had been released for lack of progress in his first year.

After all this came to light Dundee expelled him, and he knew no university would take him on as by now he was over thirty, the cut off point for medical students in the UK. Now 58, Brian is not so keen on publicity; he requested that the actor Alan Cumming should lip read his answers to McLeod’s questions.

The most interesting aspect of MyOld School are the interviews with the anti-hero’s former class mates, the range of opinions differing very strongly. His co-lead in “South Pacific” finds it rather “icky” to learn that as a sixteen-year old she had been kissed by a man of thirty-two in public.

DoP George Geddes combines interviews, TV archive material and animation (Rory Lowe, Scott Morris) into a very lively watch. McLeod has skilfully assembled a study about time, memory and the way we are all unreliable narrators when our past is concerned. AS

IN CINEMAS NATIONWIDE FROM 19 August 2022

Dir: Larry Achiampong; Cast: Perside Rodgrigues; UK 2022, 83 min.

Wayfinder is British-Ghanaian artist Larry Achiampong’s first feature, a more poetic and languid version of an unfinished project, based on series of apocalyptic cartoons where isolated figures walked through a torrid landscape, breathing filtered air.

In Wayfinder the wanderer is called Perside (Rodrigues) and she crosses England from Hadrian’s Wall to Margate, the freewheeling narrative touching on cultural heritage, exclusion and displacement, with regional aspects replacing a nationwide view of conflicts, current and historical. On her journey Perside visits a housing estate in Wolverhampton, a cafe in Bethnal Green, the National Gallery at night, and a fun fair in Margate. In Bethnal Green pays her last respects to a friend, and discovers that the longest surviving building is a funeral parlour, dating back some 200 years. Letting agencies and health food shops have replaced the old-fashioned outlets of her youth. Back then the Blair mirage of “Education, Education” was paramount and when she finished university with her siblings the three of them went straight to the local job Centre after the graduation ceremony. Their mother had bought a flat, hoping that her children would be able to pay off the mortgage. In reality it was bought by a wealthy man for his daughter who was studying from abroad. And while home pays and important element in all the segments, ambiguity overlays any identification. This is a Britain which is not only punished by the epidemic. Achiampong’s visionary outlook catches all the small details without losing the overview. AS

IN UK CINEMAS FROM 1 JULY 2022

Dir.: Robert Eggers; Cast: Alexander Skarsgard, Nicole Kidman, Claes Bang, Ethan Hawks, Anya Taylor-Joy, Willem Dafoe, Björk, Oscar Novak; USA 2022, 136 min.

After his breakout success with The Witch and impressive follow-up The Lighthouse, the main problem with Robert Eggers’ latest – a violent Viking drama set in AD895 – is that it’s not weird enough. Yes, blood and gore will satisfy the aficionados of the sub-genre; and a dash of magic and some warmed-up Shakespeare, with the anti-hero Amleth (Skarsgard) impersonating the Bard’s Danish prince, although less reflective and more prone to spontaneous combustion. The cast is certainly up to it and Jarin Blaschkeof of Lighthouse fame does a brilliant job with the images but The Northman suffers the fate of most auteur-driven vehicles. Once the auteur is no longer in the driving seat the vision is lost in a big studio blowout that careens all over the place at two hours plus.

After returning home from a war to his Queen Gudrun (Kidman), King Aurvandil (Hawk) joins his son Amleth (Norvak) to celebrate victory with ferocious farting match as they impersonate wild dogs (a recurring motif). But the jubilation is short-lived when the King’s brother Fjölnir (Bang), murders Aurvandil in full sight of the boy who escapes and flees the country only to return as a fully-fledged fighter (Skarsgard). Having been sold into slavery by his uncle and mother – now an item – he falls for love interest Olga of the birch forest (Taylor-Joy), and soon turns the tables on Fjölnir spilling family secrets in a revenge-fuelled furore that culminates in a lava-spitting volcano at the Gates of Hell.

A cast of big names appear in cameos: Willem Dafoe has fun as court jester Heimir the Fool, and Björk warns of things to comes as eerie eye-less witch. There is a Valkyrie riding across the sky on a horse – again counterpointing the terrifying violence of spilled guts, death by fire and multiple mutilations. Perhaps the key to Eggers’ approach lies in an early scene when Aurvandil has returned and Queen Gudrun invites him to bed. But the King is too proud to admit he is wounded, and instead of conjugal sex teams up with his son for a bloody bonding session where Amleth watches his father’s intestines morph into a magical tree crawling up into the sky. Later we will see Amleth repeating his father’s penchant for toxic male activities in place of female company. Eggers struggles to close the gap between supernatural magic and an expensive conventional Viking noir adventure. One big question hangs over this overstuffed mainstream production: what would the beast look like had Eggers’ had full control of its reins?. AS

NOW ON RELEASE NATIONWIDE FROM 16 APRIL 2022

Dir: Jean Jacques Annaud | France, Docudrama 120′

Veteran filmmaker Jean-Jacques Annaud pulls out all the stops for this incendiary  docudrama that offers a blow-by-blow reenactment of the thrilling events leading up to the tragic fire that partially destroyed Paris Notre Dame Cathedral during 24 hours in the spring of 2019.

Tracing back to the human error that set the blaze in motion, the film also shows how La Brigade Des Sapeurs-Pompiers de Paris (also known as the fire brigade) eventually quelled the flames and saved the iconic Christian monument – that took 182 years to build – from total destruction.

Notre Dame on Fire is a lavishly mounted epic that plays out like a thriller in revealing the perfect storm that leads to the climax. What’s crucial is the way Annaud and his writer Thomas Bidegain (A Prophet) – whose script rather overdoes the melodrama – show just how close Paris came to having its majestic Gothic centrepiece reduced to rubble in a fire that could have obliterated the cultural and religious touchstone of many a film and novel, Victor Hugo’s hunchback the most memorable.

Occasionally veering into dialogue as clunky as the blocks of limestone that bolster the cathedral’s foundations Notre Dame certainly makes for compulsive viewing with its blend of genuine footage – made up of government drones, TV clips, and mobile phones – and the imagined drama that follows the race to save not only the edifice but the priceless religious relics: a crown of thorns believed to be the original from the Crucifixion and a nail from the True Cross. They are locked away in a hidden safe, but the mystery that drives the action forward is – who has the key?

The dramatic scenes of the roaring inferno are brilliantly handled by DoP Jean-Marie Dreujou and production designer Jean Rabasse who has incorporated replica sets, which were subjected to fierce but controlled flames, and these impart an authenticity that is really impressive. The cast and crew had to wear real fire-fighting gear capable of withstanding temperatures of 1300° F. The fiercest parts of the blaze are the choreographed highlights in the belfry and the transept, and catastrophic collapse of the spire as it comes crashing down into the nave. A fascinating true story which makes for a visually exciting spectacle.

IN CINEMAS FROM 22 JULY 2022

Dir.: Ina Weisse; Cast: Nina Hoss, Simon Abkarian, Jens Albinus, Ilja Monti, Serafin Mishiev, Sophie Rois, Thomas Thieme; France/Germany 2019, 99 min.

Nina Hoss brings her signature style to this muted portrait of middle age crisis from German director Ina Weisse (The Architect).

Suffering from a debilitating illness Anna (Hoss) has been forced to give up her career as a concert violinist and relegated to teaching at Berlin’s famous Conservatoire. A star pupil  Alexander (Monti) becomes the focus of emotional energy as her private life spins out of control. In the throes of an affair with colleague Christian (Albinus) she desperately tests her marriage to bewildered husband Philippe (Abkarian), a craftsman, and over-pressurises her son Jonas (Mishiev) into learning to play the violin.

Borrowing heavily from Michael Haneke’s The Piano Teacher and Denis Dercourt’s La Tourneuse de Pages, Weisse fails to put her personal stamp on the feature but Hoss gives a resonating performance channelling her angst into all the other characters without resorting to the histrionics Anna clearly feels inside. There are some really taut scenes particularly one where she plays in Christian’s string quartet with disastrous results.

Anna has clearly been affected by her over-achieving parents and she reprimands her draconian father during a terse set-to at a family get together when he tries to discipline Jonas. A dramatic finale follows Alexander’s titular audition, but somehow we feel shortchanged by the outcome. AS

ON RELEASE COURTESY OF NEW WAVE FILMS ON 1st APRIL 2022.

Dir: Joshua Zeman | US Doc 96′

A stunningly photographed eco documentary that sets out to track the largest and most lonesome sea mammal, accidentally discovered through naval sonar during Cold War reconnaissance in 1989.

The whale – known as 52 for its unique-to-whale frequency of 52 hertz – has never actually been seen by a human being but marine mammal bioacoustics specialist William Watkins determined to put ‘a face to a name’. He searched for the creature for over a decade after its calls went unanswered suggesting it could be the only one of its kind.

The New York Times picked up the story in 2004 and it captured the public imagination with its relatable tale of loneliness and romantic disillusionment for a loveless creature travelling the vast oceans desperate to find a mate. Documentarian Joshua Zeman was also intrigued and got together with the team of marine specialists determined to find answers in a voyage of discovery that would be a drop in the ocean towards uncovering another of nature’s mysteries. MT

ON RELEASE from 4 April 2022

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Dir.: Simon Kinberg; Cast: Jessica Chastain, Lupita Nyong’o, Diane Krüger, Penelope Cruz, Bingbing Fan, Sebastian Stan, Edgar Ramirez; USA/China 2019/21; 124 min.

British-born director Simon Kinberg, producer of the X-Men series, teams up with Jessica Chastain to co-produce this female super-spy caper, co-written by Theresa Rebeck and Bek Smith. Chastain asked Kinberg for a female super-hero feature, having been part of the star studded cast of X-Men: Dark Phoenix, a loss making 200M+ dollar project which he also directed, wrote and produced.

It all starts with a stock slaughter sequence in South America, where drug lords are fighting for an electronic device that gives its owner control over all electronic traffic worldwide. Next, said device turns up on Paris, with major intelligence agencies chasing the hardware destined to be sold in a mass auction on the Dark Net.

Mason ‘Mace’ Browne (Chastain) and Nick Fowler (Stan) represent the CIA as a couple with ‘special benefits’. Marie Schmidt (Krüger) of The Bundes Nachrichten Dienst (BND), (the German State Security organisation) is still reeling from the shock of her father’s role in the KGB. But Graciela (Cruz), a Columbian DNI agent and psychologist, is the odd-one out: roped in by her fellow countryman Rojas (Ramirez)mwho is dying after the unsuccessful attack on the drug dealer.

Rojas has just enough time to put Graciela’s fingerprints on the desired object’s tracking device. Thus the psychologist becomes the stereo-typical odd-woman-out, just wanting to go home to her family. An African-British computer expert Khadijah (Nyong’o) will later ‘direct’ the quartet, later a quintet, when Chinese MSS operative Lin Mi Sheng (Bingbing Fan) joins the party in Shanghai for the last act.

Rojas is not the only casualty: Fowler also comes a cropper, driving Browne even harder to get her paws on the device. Alas, her ex-partner is very much alive – and on the wrong side, making Mace’s retrieving action into a revenge story.

Structured along the lines of a Bourne feature, The 355 (named after the first US female spy operating under George Washington’s command), not only suffers from a convoluted script, but also outstays its dubious welcome, bloodied by needless fighting scenes: all decisions are actually taken by Khadijah, based on her superior technological knowledge. The agents on the ground are reduced to mere ‘action-women’ figures – not exactly “The Female Rainbow coalition” Chastain had in mind.

DoP Tim Maurice-Jones really does a great job on the look of The 355, but the vaunted female heroines are merely inferior James Bond replacements and we don’t care what happens to them, or indeed the upcoming Chastain/Kinberg collaboration entitled  Wayland, another high-budget production destined for a loss. AS

NOW ON GENERAL RELEASE NATIONWIDE

Dir.: Daniel Brühl; Cast: Daniel Brühl, Vicki Krieps, Peter Kurth, Rike Eckermann, Aenne Schwarz, Gode Bendix; Germany 2021, 92 min.

Spanish-German actor Daniel Brühl, who shot to fame in 2003 with Wolfgang Becker’s GDR satire Goodbye Lenin, also stars in his autobiographical themed feature debut, a political satire that riffs on Berlin’s modern day gentrification.

Essentially a two-hander It all takes place in a bar in Berlin’s now upmarket Mitte district where Brühl is self-important film and TV thespian Daniel preparing for a screen test in London. After the obligatory early morning work-out he swings by his favourite cafe (where owner Hilde jokes about the ‘new’ craze for espresso), and shoots the breeze with his East Berliner night-worker neighbour Bruno (Kurth), who regrets voting for re-unification ultimately handing over the power to the capitalist West.

Daniel has a private lift to his lush penthouse but relationships wise the two are on the same page:. Bruno listens to Daniel’s marital up and downs with Clara (Schwarz), who is now having him followed, Bruno knows the territory having had to put up with his wife’s unfaithfulness. But the men also share a chequered past with each other: Daniel’s father also cheated Bruno’s over the ownership of the flat Daniel now lives in. And the security agent has also found out that Clara herself has been playing the field and that Daniel himself is hardly pure as the driven snow as we will discover in the film’s end titles.

Daniel Kehlmann’s script is laced with satirical subtexts but these are only relayed verbally making the whole things feel rather claustrophobic: Next Door could have worked better on the stage or even as a radio play. We only see Clara for a few minutes groaning at being woken up early, and Hilde holds court as a sort of a verbal umpire who eventually falls out with Daniel.

DoP Jens Harant does his best to liven things up with overhead shots of the bar, the few street scenes make a welcome change from the interior bound verbal duel between Daniel and Bruno. The dialogue is sharp, and Bruno’s grievances are certainly plausible. but there are too many characters serving as bland window-dressing: Daniel’s two children and a particularly aggressive drunkard, and Vicki Krieps is under-used in the support.  Next Door makes a good point regarding gentrification and social inequality in Germany today, but cinematographically it misses the mark. AS

AT CURZON CINEMAS AND HOME FROM 1 OCTOBER 2021

Dirs: Peter Mortimer, Nick Rosen | US Doc 93’

Almost everyone is entranced by the thrill of mountains. And so another documentary about man pitting his wits and physical stamina against the elements is always welcome.

Just the sheer elation of being overwhelmed by stratospheric heights and snowcapped peaks only adds to the nail-biting suspense of the ascent: will the mountaineer make it to the top, or will nature hold sway. And then there’s the descent – the most critical part of any top-tier climber’s mission. More people die going back to base camp then scaling the summit in this perilous pastime

Mortimer and Rosen’s taut documentary offers much of the intensity Mountain and Free Solo and is probably more realistic about the pitfalls and realities of mountaineering. Not for the vertigo prone, the directors occasionally going off piste themselves in their storytelling, occasionally there’s a sense that the film teeters on the brink of a mockumentary in style.

The Alpinist does not refer to its namesake, the European Alps, but to the practice of tackling complex and perilous peaks, and here the focus is a complex climb in Patagonia where Canadian climber Marc-André Leclerc challenges perilous conditions. Best known for his derring-do in tackling mountain paths less travelled with the added challenge of racing against time to compete with established records, Leclerc is a courageous climber who pits himself against the elements. No mean feat considering he suffered ADHD as a child. A case in point is an ascent in Canada where he beat the record-holding alpinist Honnold in a complex endeavour given the challenging circumstances: like every sport nowadays enhanced gadgetry and equipment is increasingly de rigueur. Solo climbs are a speciality for Leclerc who gets his buzz from the spiritual experience that alpinism offers. Although he is occasionally accompanied by his girlfriend Brette Harrington, who is an accomplished climber herself.

Mortimer is not over-awed by Leclerc’s courage or the stratospheric scenery conjured up in The Alpinist’s dizzying visuals, keeping his distance – literally and metaphorically, although he doesn’t quite get under the Canadian’s skin. Leclerc is an unintentionally evasive character, and the shoot was not without its own ups and downs given the peripatetic and often haphazard nature of his life, when the spirit moves him he’s up and at it like a true pro. Talking heads help to break up the tonal intensity of Leclerc’s experience as fellow alpinists share their stories — some amusing, some intriguing in this heady foray into this extreme sport. MT

IN CINEMAS FROM 24 SEPTEMBER 2021

Dir/Wri: Leos Carax | Marion Cotillard, Adam Driver, Simon Helberg | Drama France, 139′

French auteur Leos Carax last graced the Croisette with Holy Motors a weird and mysterious odyssey into the mind of one man. Annette his latest creation sees him back in Cannes nine years later with another cinematic sensation: another journey into the complexities of male psyche that explores the nature of fame and the fragility of love through his first English language film.

Adam Driver haunts this moody modern opera with a muscular expressiveness that lurches from rage to almost religious fervour as offbeat comedian Henry, although his comedy act sequences are overlong and not particularly amusing and detract from the central narrative which already has more than enough references to his anger issues. Marion Cotillard shimmers exquisitely as the diva he falls for but the baby they make together is simply out of the world.

Visually stunning in the style of Holy Motors, is Caroline Champetier once again beguiles with her luscious cinematography in a highly original film that blends its bizarre ideas and tonal switches with elegance, always surprising the audience: particularly with erotic sex scenes laced with obsidian black humour: this is a richly thematic modern classic with a focus firmly in the future.

The cult rock band Sparks performs and composes a score that is daringly racy and poignant in the style of a Greek tragedy (complete with a black female chorus) where its central character Henry (Driver) is a meglamaniac narcissist whose lust for new experiences and extreme carnal compulsion will be his devastating downfall, destroying everything challenging his dominance.

Opera singer Ann (Marion Cotillard) melts his heart with her dulcet tones – for a while at least – and the two wander deliriously in a verdant garden of Eden crooning the film’s catchy musical leit-motif “We Love Each Other So Much”. and soon their baby Annette is born and their joy now complete.

But storm clouds soon gather over on the loved-up paradise in a melodramatic tone shift. Carax goes into overdrive in a full-blown expose of macho toxicity where passions are given full throttle during Henry’s hysterical nighttime motorbike rides home to his tropical hideaway, the dizzying camerawork  recalling Holy Motors’ nocturnal taxi forays. There is a third narrative strand in shape of Simon Helberg’s compelling turn as Ann’s spurned lover now reduced to her accompanying pianist at her elegantly-staged opera gigs. Once again Cotillard get the chance to play Lady Macbeth and this will be teased out suggestively in the film’s third act.

Baby Annette is like a benign female version of ‘Chucky’, her blue eyes and auburn locks adding an endearing appeal and vulnerability to the subtle scariness she engenders but also hinting at A.I. She will grow up to be a thoughtful and intuitive little girl, whose presence pivotal to the storyline. At this point Carax uses the female chorus to clever effect as a #MeToo theme kicks in and this feeds into Henry’s violent anger management issues which are now the central focus of the story and pivotal to the final reveal.

Annette is a compelling visual masterpiece that utterly captivates and confuses for nearly two and half hours. An atmospheric soundscape, dreamlike images and extraordinary performances coalesce in a contemporary rock melodrama the like of which has never been seen before, and it world premieres here at Cannes. MT

NOW ON RELEASE AT CURZON

Dir.: Gillies MacKinnon; Cast: Timothy Spall, Phyllis Logan, Natalie Mitson, Ben Ewing; UK 2021, 86 min.

The Last Bus is something between a feel-good-movie and an elegy on death in modern Britain seen through rose-tinted specs. Carried by the great Timothy Spall, it somehow lacks enough information on the character he plays, eighty-something Tom Harper, who is taking his wife Mary’s ashes all the way from John O’Groats to Lands End, making the 838-mile journey on public transport thanks to his bus pass.

After Mary’s death Tom’s reverse journey is a nod to the past, with flashbacks of their married life together as a young couple (Natalie Mitson/Ben Ewing) when they first made the trip, through to the present day. Undeterred by terminal cancer, Tom still firing on most of his cylinders: helping when the bus breaks down and rooting for a racially abused fellow passenger. As the bus travels southwards we’ll get to know more about Tom’s trails and tribulations finishing on a high note on his arrival in Lands End

The contrast between the early 1950s and today Britain seems more positive than realistic: the good old days reflect the happiness of Tom’s married bliss with Mary, nothing seemingly dimming their nirvana, even 70 years later. The goodwill shown by nearly everyone towards the pensioner seems idealist given what most older people have to put up with. Nostalgia rules visual and tonally, the characters reflecting this bland idealism in their conventional rather make-believe lives. A touch of irony would have been welcome to take the edge off the sweetness, Spall breathing life into a chocolate box existence. AS

ON RELEASE FROM 20 August 2021

Dir.: Robin Lutz; Documentary with George and Jan Escher, Liesbeth Escher-Hogenhout; Netherlands 2018, 80 min.

Like many before him Dutch graphic artist M(aurits) C(ornells) Escher (1898-1972) came late to fame. But his influence, particularly in pop-culture, is still growing. This might seem to be a contradiction, since Escher was a modest creative who told his admirers he was not clever enough to be an academic and had to wait until 1970 for his first exhibition. But he doubted his artistic talents because he believed a ‘real’ artist should not enjoy his work but be tortured in creating it

Escher met his wife, 24-year old Russian émigré Yetta Umica, in Ravello in 1923. The couple married in Viareggio a year later and settled in Italy where Escher marvelled at the blue skies “colour was needed, but I did not want colour”. He often sketched at nigh-time although he maintained: “the reality of the day is like a dream”.

Escher and his wife travelled on a cargo ship to Valencia, paying their way with ten drawings, which the company used for advertising. They then travelled through southern Spain to Granada where he worked every day in the Alhambra. Escher was particularly struck by the geometric figures used by the Moors. Back home in the Netherlands he worked from dawn to dusk “so that the inner images came out”. One of his most famous drawings was of people living in the ‘second and third dimension’ but never meeting on imaged of stairs, one person going up as the other went down. Mathematics became increasingly important to his work leading him to pose the question: “Is it still art?”. But as son Jan comments, “work was opium for him.”

By now, the Germans had occupied the country, and Jewish artists could not exhibit any more. Escher cancelled his membership of the Artists’ Society and the Graphic Association. He rescued over two hundred drawings from his art teacher, one of the many deported to the death camps. When the wartime food supply dwindled Yetta sacrificed her own well-being, saving what little was available for the three sons.

After the end of WWII, she became more and more fragile and her mental health deteriorated. She would later travel to Switzerland and live with her son and his wife Liesbeth, but they eventually had to put her into a nursing home. She survived her husband who died after numerous operations for cancer.

MC Escher had been supported by his wealthy parents for most of his life, but an interview with ‘Time-Life’ in the 1960s raised the profile of his work and he became famous virtually overnight. One of his most famous concepts pictured people as wheels, rolling forward. When he listened to Bach’s St. Matthew oratorio, he imaged the cathedral floating over the ocean to New York and San Francisco. And this drawing with its psychedelic beauty found many admirers in the growing counter-culture, even though Escher had little in common with the flower-power generation.

Stephen Fry reads Escher’s letters as a v.o. Music by Bach dominates the feature, hardly a co-incidence since the composer himself admired mathematics. Escher was a certainly a person of substance and wild imagination, and deserves all the plaudits he gets after a life of self-doubt. AS

NOW AVAILABLE ON DIGITAL RELEASE

Dir.: Frederik Louis Hviid, Anders Olholm; Cast: Jacob Lohmann. Simon Sears, Tarek Zayat, Al Jabouri, Issa Khattab; Denmark 2020, 108 min.

Shorta is an intelligent a police thriller tucking a range of weighty social issues firmly under its belt for an adrenaline-powered ride.

Danish first time directors/writers Frederik Hviid and Anders Olholm unpack the role of the today’s police in a crime caper that never lets up in dealing with racism, immigration and misogyny. The violence is hard-hitting but never gratuitous.

We start with the familiar good cop/bad cop routine: a day after a teenage immigrant is gravely injured by police, the squad boss asks officer Jens Hoyer (Sears) to keep an eye on fellow officer Jacob Lohmann (Andersen) who has a track records of open racism and misogyny, and enjoys provoking immigrants – something to be avoided on a day of high tension, even so when their patrol covers the infamous Svalegarden estate where the young victim lived.

At first the cops’ behaviour is true to form: Hoyer the voice of reason, Lohmann a brutal bully. Their relationship is made even more fraught by Jens having been a witness when the teenager was put in an arm lock by the police. Lohmann more or less threatens Hoyer to lie to the internal investigators maintaining that no excess force was used during the incident – appealing to his esprit de corps. Enter Amos (Zayat), a teenager from the same estate, deliberately throwing a milkshake at the two officers in the squad car. Amos is arrested and it soon emerges that  the victim of police brutality has died in hospital and more violence follows for all concerned.

Although the director keeps his distance, his message is clear as day: the police cannot be expected to deal with issues caused by politics and parents who are no longer responsible or even interested in their kids. There are two scenes which really are heart-breaking: Lohmann fighting a German Shepherd in a lift: no prizes for guessing who survives. When are filmmakers going to stop kill off their dog characters? Still, Shorta makes its point and is entertaining – if you disconnect from reality. AS

ON RELEASE IN CINEMAS FROM 30 AUGUST 2021

Dir.: Fernando Trueba; Cast: Javier Camara, Juan Pablo Urrego, Nikola Reyes Cano, Patricia Tamayo, Maria Teresa Barretyo, Laura Londano, Elisabeth Minotta, Kami Zea; Columbia 2020, 136 min.

Memories of My Father in a spirited family saga set against the background of Columbia’s darkest days.

Based on the (auto)biographical novel ‘El Olvido Que Seremos’ by Hector Abad Faciolince, Spanish director Fernando Trueba and his brother David set their story in the city of Medellin, where fiery militias took the law into their own hands. Both novel and film are a tribute to the Columbian human rights advocate and doctor Hector Abad Gomez, by his son Hector ‘Quiquin’ Abad Faciolince.

The story opens in a monochrome Turin in the early 1980s where student Hector Abdad (Urrego) is watching a South American gangster movie with a girl friend. We hear him later on the phone to his mother Cecilia Faciolence de Abad (Tamayo) discussing his father’s rebellious nature. Glorious colours then flood the screen as we revisit Hector’s ‘Quiquin’ (Cano) childhood world, dominated by his compassionate father (Camara) and his four sisters: teenage Mariluz(Barreto), Clara (Londano), Marta (Zea) and Vicky (Minotta.)

Medellin was a turbulent place to grow up: bombs went off regularly, right-wing militia terrorised the population, drug cartels fought it out, and at university fascist professors made life difficult for Abad Gomez. At home, matriarch Cecilia keeps the family finances in order, whilst Clara changes boyfriends regularly and Marta sings melancholic songs, playing the guitar.

Quiquin and his school friend are up to no good – throwing stones at the window of a Jewish family living next door. The school boys are victims of a reactionary aunt, a nun, who tells Quiquin that the Jews killed Jesus Christ and should be punished. Father Hector takes his son to the neighbours and makes him apologize. The same school friend asks Quiquin “if his father was gay” – since Hector senior likes to cuddle his only boy. The youngster is soon fed up with religion and God, and is ordered by his father to attend church to please his mother. The grandmother is sent to a care home, and Cecilia’s brother, a bishop, warns Hector to be more careful with his critique of the government and militia.

But the lack of sanitation in the poor quarters is appalling, and the doctor is the only one, who cares to get prosthesis’ for the victims of bomb attacks.  On the radio, the family listens to accusations against the patriarch, he is branded a Marxist, soon having to leave the country to teach abroad. Then tragedy strikes at the heart of the family and life is never the same.

The feature then circles back to 1983 and black-and-white footage seeing Hector returning to Medellin, where father and son are more and more estranged, since the young man does not understand his father’s social engagement. The first grandchild in the family is born, and Doctor Gomez announces that he is going to run for mayor of the city in 1987. After family tragedy, the scene is now set for confrontation.

DoP Sergi Ivan Castano can take much credit for this engrossing family saga, sometimes told in the style of a tele-novella. The black-and-white images are wonderfully lit, and the colour scenes at the heart of the feature are so vibrant in their crystalline intensity you almost have to squint. The directors avoids a political treaty, focus on the emotional conflicts. Memories is a testament to a man of passion and compassion. ©AS

CURZON HOME CINEMA exclusively from 26th March 2021

Dir: Lawrence Gough Cast: Olivia Bonamy, Ben Cura, Anton Lesser and

Adapted from a play by Terry Hughes, Gatecrash is a slick home invasion thriller that retains its stagey claustrophobic credentials by keeping things mostly indoors, thus keeping the budget down. As usual with these contempo British indie films, the female character is the victim.

Samuel West has been persuaded to join the decent cast of what is a slim but effective four-hander that ultimately leaves too many questions unanswered. It sees a French woman Nicole (Olivia Bonamy) trapped in an abusive relationship with her hard-edged and controlling husband Steve (Ben Cura). After a night out in their flashy car the couple return to the confines of a plush garage where a vicious row breaks out. Clearly something has gone wrong and they both blame each other, although Steve is clearly the culprit and coerces Nicole to keep schtum.

But it gets worse. Two other characters know what’s happened and they’re not going to let Steve get away with it. As the innocent party, Olivia’s feelings of isolation and fear intensify grow as the pair are increasingly pressurised to fess up – at any cost. MT

Gatecrash will be available for rent or Digital Download from 22nd February in the UK and Ireland.

Dir: Norman Harrison | Cast: William Lucas, John Rutland, Dily Watling, Shay, Warren Mitchell, Harry Landis | UK Drama 72′

Since negotiating today’s icy pavements itself constitutes a calculated risk at the moment, this constitutes a timely revival for a bleak little caper film scripted by the actor Edwin Richfield set against the atmospheric backdrop of the great winter of 1963 (and a notable omission from Chibnall & McFarlane’s 2009 book ‘The British ‘B’ Film’).

Calculated Risk was made on a measly budget of £19,685, and none the worse for it. One critic said of it: ‘The script is tight, the vivid black-and-white photography perfect for the tale that’s told, and even though one of the actors are known in this country – and maybe not even in England – they all fit their characters well, and what more could you want?”. What more indeed.

Atmospherically set in a London still strewn with bombsites and unexploded wartime bombs, our old friend Wormwood Scrubs appears in the opening scene shrouded in snow. Beatles producer George Martin provided the snazzy soundtrack at the same time as he was working on the band’s Love Me Do, and they travelled down during the Big Freeze.

I won’t give away what happens other than mentioning that crime wasn’t allowed to pay in those days. Maybe they should have waited until the weather got a bit warmer, like the pros who carried out The Great Train Robbery that summer. Richard Chatten.

NOW ON TALKING PICTURES TV

Dir.: Thadddeus O’Sullivan; Cast: Tom Vaughan-Taylor, Michael Gambon, Derbhie Crotty, Marty Rea, Boso Hagan, Peter Campion; ROI 2018, 80 min.

This post-modern docudrama raises the profile of controversial Irish art dealer Hugh Lane (1875-1915) and his valiant attempts to set up a modern art gallery in Dublin during the early 1900’s to house his important collection now in the London’s National Gallery. The film succeeds with a lively cast and vibrant images, but there’s simple too much going on, and many viewers may find themselves bogged down by Mark O’Halloran’s dialogue-heavy narrative of staged dramatic interludes and an overdose of verbosity from the many talking heads.

Hugh Lane was born in a suburb of Cork, the only one of many siblings fathered by the Reverend James Lane (Hagan) born in Ireland, where Hugh would perish on the Lusitania in 1915, torpedoed by German U-boots off the coast of Cork.

Educated in England and Europe where Irish culture and identity was experiencing a rebirth, Lane became fascinated by the old Masters, and then of Impressionist paintings which he felt where undervalued at the same time that French dealer, Paul Durand-Ruel was also of that opinion, and considered an important dealer, particularly of Monet, Pisarro and Renoir work, and establishing galleries in New York, Berlin and London and other centres.

Lane’s coterie admired his taste – so much so that when ne looked long and hard at paintings in exhibitions, he would drive up the prices for these so far ‘worthless’ pieces. His travels took him to Paris, and soon his Impressionist collection would make him a fortune back in Ireland, and he fought long and hard for a National Gallery in Ireland’s capital. Sadly he was defeated during his life time, only establishing the Municipal Gallery of Modern Art in 1908.

Today, ‘The Dublin City Gallery, The Hugh Lane’ houses one of the finest collections in Europe, but more than 40 of his Impressionist works now hang in the National Gallery, because Lane failed to ‘witness’ the codicil in his Will, that bequeathed the paintings – among them a Monet and a Renoir – to Ireland. Until this day the ownership fight is still ongoing: in 2008 a daring heist saw to men steal one of paintings from the National Gallery in London. The works were returned, but the perpetrators got away Scott free.

Lane enjoyed a wide circle of illustrious friends, amongst them his aunt Lady Augusta Gregory (Crotty), WB Yeats (Campion), Lord Ardlaun (Gambon), and William Orpen (Marty Rea), and staged, fictional conversations with them show him to be snobbish and egalitarian, but at the same time, convinced of his own superiority often clashing violently with the authorities. When we see him walking through the Dublin City Hall Gallery which bears his name – though he never saw it, he looks like a ghost.

O’Sullivan sometimes lets the characters speak directly to the camera, explaining their points of view, an effect which some viewers may find disconcerting. Overall, Citizen Lane is a slow burner, hampered by a torrent of interjecting experts: historians and art historians, amongst them Roy Foster, Paul Rose, Morna O’Neill and Barbara Foster, whose worthwhile and wide-ranging opinions nevertheless overload the 80 minutes running time. AS

ON iTUNES, AMAZON AND GOOGLE on 12 April 2021

Dir: Shaka King | Scri: Will Berson | Cast: Daniel Kaluuya, LaKeith Stanfield, Jesse Plemmons, Dominique Fishback, Ashton Sanders, Martin Sheen | US, historical drama, 126′

“You can kill a revolutionary but you can’t kill the revolution”

Fresh from its Sundance 2021 premiere comes this dynamite political drama that stars Daniel Kaluuya as Black Panther chief Fred Hampton and LaKeith Stanfield as the FBI informant William O’Neal who betrayed the Illinois Black Panther Party.

Shaka King certainly knows how to stage a film and this is a splashy widescreen thriller that sums up the mean streets of late Sixties Chicago with its rangy limousines, dudes with flick-knives and a moochy Motown score. Partly narrated, and powered forward by an charismatic performance from Kaluuya the story cuts between the undercover activities of O’Neal after he has been suckered in to being a police informant to avoid serving time for a felony that plays out in the propulsive opening sequences (and again the elaborate postscript), and Hampton’s rise to recognition as his galvanises the civil rights movement.

Martin Sheen gets to play a balding puffy-cheeked FBI boss J Edgar Hoover who gives agent Roy Mitchell (Plemmons) a talking to, suggesting he uses O’Neal rather more creatively to stem the tide of ‘Black empowerment’ as the urgent demands of the FBI start to bite, the incendiary threat of the Black Panthers growing every day more credible.

It’s a shame that the relationship between Hampton and O’Neal remains rather underplayed, along with his frisson between the potent Black Panther supporter Deborah Johnson (a thoughtful turn from Project Power‘s Dominique Fishback), as this could have added further nuance to the tale.

Sean Bobbitt is possibly the undercover star of the show with his masterful camerawork both on the widescreen and in close-up giving this a distinctly retro feeling that captures the volatile atmosphere of Chicago’s counterculture in a year that also experienced the Weathermens’ “Days of Rage”, and other revolutionary groups who were not only opposing the status quo, but also each other, in a time of worldwide unrest.

The film culminates in a bloody showcase showdown and while the Will Berson’s narrative does not always hang together perfectly Judas certainly provides convincing entertainment and worthwhile insight capturing the zeitgeist of another restless time for American. MT

Judas and the Black Messiah premiered at Sundance Film Festival 2021 and won an Best Supporting Actor Oscar for Daniel Kaluuya

Dir.: Chris Weitz; Cast: Oscar Isaac, Ben Kingsley, Melanie Laurent, Haley Lu Richardson, Joe Alwin, Greta Scacci; USA 2018, 122 min.

Another wartime foray this one cleverly adapted by US helmer Chris Weitz (A Better Life) from Matthew Orton’s script about the capture of Adolf Eichmann, the “Architect of the Holocaust”, in Argentina, and his subsequent trial in Jerusalem. Operation Finale plays out as a seething action thriller with some (a-historical) romance thrown into the pot. Ben Kingsley as Eichmann saves the project from banal superficiality, Oscar Isaacs making for a saturnine Malkin.

On the evening of 11th May 1960, a group of Mossad agents captured Eichmann near his house in the Buenos Aires suburb of San Fernando, where the former SS Obersturmbannführer lived with his wife Vera (a graceful Greta Scacci) and two children. His son Klaus (Alwin) actually led Mossad on the trail of his father who worked as a clerk for the Mercedes Benz factory in Buenos Aired: Klaus had a romantic relationship with Sylvia Herrmann (Richardson), her father growing suspicious of Klaus’s story about his family. Hermann senior informed a high-ranking West German prosecutor, Dr. Bauer, of his misgivings, and Bauer tipping off Mossad.

The capture itself is played out Ocean’s Eleven style – with Hanna Elian (Laurent), the anaesthetist of the group, getting over a bad relationship with Malkin after both of them botched their final assignments. Malkin is not trusted by his superiors, demanding why he never got the more glorious operations from the bosses, he answers caustically: ‘Perhaps they are anti-Semites’. Food for thought.

Some scenes lack finesse, particularly one where Malkin tries to convince Eichmann to sign a document declaring his voluntarily arrival in Israel. But there are subtler touches: Klaus and Sylvia enjoy Douglas Sirk’s aptly titled Imitation of Life, in a Buenos Aires cinema. And there are real thrills when Eichmann’s on board a plane with the agents ready to depart for Israel, a horde of Nazis desperately pressuring the authorities to ground the flight, having failed to track him down. The tone darkens as we witness a 1962 trial in Jerusalem – Malkin losing out on Hanna, who plumps for a less testosterone driven partner.

Operation Finale is a mixed bag: DoP Javier Aguirresarobe’s rather conventional images collide with Malkin’s personal memories of the Holocaust, and the Malkin/Elian affair is superfluous – in reality the Mossad doctor was male. The last chapter gets us back on track despite the long-drawn out kidnapping only being a secondary element in the plot. Ben Kingsley makes for suitably sinister Eichmann, deftly dicing between the two ‘Selfs’ of his incarnation of the ‘Banality of Evil’ (Hannah Arendt), lording it over his victims life a Nazi rigout, and his life as a dowdy, downtrodden clerk from an urban backwater. AS

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Dir.: Fernanda Valadez; Cast: Mercedes Hernandez, David Illescas, Jesus Varela; Spain/Mexico 2020, 97 min.

Identifying Features is an emotional fireball of a film showing a hell on Earth at the Mexican border with Arizona.

Poor Mexican farmers are caught in a trap between the cartel henchmen and the people traffickers promising financial security to these mostly young and naive locals on the Mexican side of the fortified border: the price is high: and it could cost them their lives.

Childhood friends Rigo and Jesus (Varela) have had enough of their restricted existence and set off from their little village in a perilous journey to the border wall. But the teenagers soon disappear for months without any sign of life, their families starting to imagine the worse.

For Rigo’s mother, the search for her son will be short and painful: photos of young men found dead near the border are shown to her – Rigo, easily identified by a white birthmark on his face, is one of them. The procedure is done in the most bureaucratic and soul destroying way. Magdalena (Hernandez) can go on hoping, and travels on to the border where Miguel (Illescas), a deportee, has just arrived after many years as an illegal in the USA.

The two will meet later. Magdalena does not learn anything about her son from the bus drivers she asks for help – just that buses are often kidnapped by cartel militia. Rigo was one of the victims on that fateful October the 15th, the day the teenagers boarded their bus. But Magdalena is told – in the lady’s restroom of all places – that an old man, who also survived the assault, is living in La Fragua near a canal.

So Magdalena sets out on her journey, meeting Miguel on the way on to see her mother. When the two arrive, it becomes clear that militia has raided her place and most probably killed the woman. But Magdalena presses on with her search for the old man, finally finding him in hiding from the militia. He confirm Rigo had been killed, mentioning his white birthmark, but does not know anything about Jesus’ fate. Trying to get back, Magdalena and Miguel are caught at night by the militia men, who are camping near a fire. In spite of their quick retreat into the woods nearby, Miguel is caught and shot. Magdalena, sure of her own fate, starts praying.

Whilst Hernandez is truly brilliant, the real star is DoP Claudia Becerri Bulos whose images of the countryside show utter desolation. The final part at the feature at the camp fire, where the devil dances, is simply extraordinary, with Magdalena’s face drenched in red.

The camera travels along inconsolable, melancholic and languid, panning Miguel from behind, his fate is somehow foretold, Magdalena remarking on his similarity to Jesus. She offers him a home, somehow fearing that her odyssey in search of her son will be in vain. This artful multi-award winning perspective on the Mexican migrant crisis is the the work of a remarkably mature newcomer, who has a bright future ahead of her film wise. AS

NOW ON DIGITAL RELEASE