sun 12/05/2024

Film Reviews

Something Must Break

Kieron Tyler

Sometimes, nothing can prevent love blossoming. Sebastian’s second encounter with Andreas is punctuated by the latter vomiting after too much booze. It doesn’t put the brakes on the former’s growing passion for the leather-jacketed object of his affections. Soon, the pair are lovers despite Andreas declaring that he is not gay. He cannot resist Sebastian.

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Cinderella

Matt Wolf

Lushly produced to within an inch of its pictorially ripe life, the new Disney/Kenneth Branagh live-action Cinderella couples swoony imagery with a cloying message about compassion. But all its pro forma qualities fall away as and when Cate Blanchett takes to the screen, the actress as beady-eyed as she is bristling – and Branagh's film that much the better for it.

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Wild Tales

Nick Hasted

Six apocalyptic Argentine stories of revenge combine in this hugely enjoyable and extreme anthology. Producer Pedro Almodóvar must have been impressed by the perverse humour, and the lack of a handbrake as actions rocket out of control. Writer-director Damián Szifron is, though, the sole author of his characters’ nightmarish misfortunes.

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Dior and I

Ellin Stein

If anyone thinks high fashion is an airy-fairy world populated by flibbertigibbets preoccupied with frills and furbelows, Frédéric Tcheng’s feature-length documentary Dior and I, a behind-the-scenes account of the race to prepare the 2012 Christian Dior couture collection in record time, should set the record straight. This is a serious business, with investors’ money and employees’ jobs riding on the quality and execution of one person’s artistic vision.

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Blind

Kieron Tyler

How would a sighted adult react to becoming blind? What would their anxieties be? How would they construct their new world? Could they construct one? All these questions are central to the Norwegian film Blind. Ingrid can no longer see and is attempting to find her way anew without sight.

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The Voices

Adam Sweeting

Horror, fantasy, bleak humour and appalling taste combine to make The Voices that rare thing, a movie that defies packaging by soundbite. Iranian director Marjane Satrapi (of Persepolis fame), abetted by screenwriter Michael J Parry, has conjured a looking-glass world of simple, colourful surfaces and childlike charm, only to rip it away to reveal the gibbering psychosis beneath. 

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Mommy

Tom Birchenough

“Loving people doesn’t save them” could be the epitaph to the young Canadian director Xavier Dolan’s exuberant, emotionally draining fifth feature Mommy. Its vivid colours, concentrated in an unusual square screen ratio, seem to burst out with devilish energy as we follow the attempts of a loving but stretched mother to look after her 15-year-old son who suffers from attention deficit hyperactivity disorder.

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The Gunman

Adam Sweeting

Naturally Sean Penn, earnest Hollywood liberal and hard-working humanitarian, didn't lightly undertake his role as professional hitman Jim Terrier in The Gunman. "The idea of making violence cute – I've never been interested as an actor in those things," Penn has commented. "But when I read this I thought there were a lot of real-world parallels to it."

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A Second Chance

Emma Simmonds

Susanne Bier follows the disappointing Serena with a well-acted and worthy drama that confronts societal prejudice, the sticky issues around child protection, and our inability to see what's right under our noses. Despite the plot's predictable and manipulative machinations, A Second Chance is rendered compelling every step of the way by Bier's searching direction and a mesmerising lead performance from Game of Thrones' Nikolaj Coster-Waldau.

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Suite Française

Nick Hasted

Saul Dibb dispenses with the first half of Irene Nemirovsky’s great novel Suite Française in about a minute. Grainy newsreel footage disposes of the Fall of France in 1940, then it’s on to the occupation of Bussy, the country town where Lucille (Michelle Williams) falls for gentlemanly German officer Bruno (Matthias Schoenaerts, pictured below with Williams).

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X + Y

Katherine McLaughlin

Sally Hawkins, Rafe Spall and Eddie Marsan form a super group of supporting actors in this heart-warming British coming-of-age drama which follows an autistic boy on his journey to the International Mathematics Olympiad (IMO).   

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Elle l’Adore

Kieron Tyler

The relationship between stars and their fans is symbiotic, but there are barriers for many reasons. Illusions can crumble when the star-struck come too close to their idol. Celebrities have to lead their lives, and intrusions by the obsessed hardly encourage day-to-day routine. Elle L’Adore posits a what-if which takes place when a star decides to breach the barrier.

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Chappie

Emma Simmonds

An innocent is corrupted in South African director Neill's Blomkamp's third feature (co-written with his wife Terri Tatchell), but the kid in question is far from what you'd expect. Set in the near future, it focuses on a reprogrammed police robot with the consciousness, sensitivity and suggestibility of a child - a lovably tatty piece of tech who has been literally labelled a reject, and who sports bunny ears, graffiti and gangster bling.

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White Bird in a Blizzard

Demetrios Matheou

Adolescence, youth culture and rebellion – often luridly and violently expressed – are the stocks in trade of American director Gregg Araki, who has one of the most distinctive voices in US cinema. But while Araki’s work has tended to exist on the fringe, White Bird In a Blizzard feels like a tiptoe into the mainstream – and the journey seems to have seriously neutered that voice.

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Dreamcatcher

Tom Birchenough

We get the big city views of Chicago, the bright lights and the skyscrapers, a few times in Kim Longinotto’s Dreamcatcher, but for the most part we’re planted firmly down at street level, in areas of town probably you wouldn’t want to go to, a fair amount of the time at night.

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Still Alice

Matt Wolf

Oscar winner Julianne Moore: the phrase has been a long time coming but it finally came true 10 days ago when the actress, long considered one of Hollywood's best and brightest, added an Academy Award to her groaning mantelpiece of trophies for her work in Still Alice. Is this actually the finest performance yet given by the flame-haired 54-year-old? Probably not (Far From Heaven, anyone?), and Still Alice – an entirely well-meaning venture that inspires...

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