sun 18/05/2025

Film Reviews

The Bling Ring

Emma Dibdin

Sofia Coppola has become known for lovingly sketching out the tribulations of the rich and famous, and reviews of her 2010 Chateau Marmont-set angst fest Somewhere made it clear that critics’ patience with that particular seam had waned. But it has become easy to forget Coppola’s debut film in all this, because it doesn’t fit the pattern.

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A Field in England

Nick Hasted

An English Civil War horror film which looks as if it was shot on authentic location in both space and time should convince his widest audience yet that Ben Wheatley is a major director. Released in cinemas, on TV, Video on Demand, DVD and Blu-ray on Friday, it’s yours if you want it.

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The East

Emma Dibdin

There’s a whole genre’s worth of films that would be improved tenfold if they’d only focused on a different character, and it’s often possible to pinpoint a better candidate among the same film’s supporting cast. Zal Batmanglij’s undercover thriller The East focuses on Brit Marling as a former FBI agent who infiltrates an eco-anarchist group but (would you believe it) becomes sympathetic to their mission.

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This Is The End

Jasper Rees

People do the funniest things. Seth Rogen is not one of those people. Or not this week. An amiable enough graduate of Judd Apatow’s school of slackers, stoners and other bromantic under-achievers, Rogen has in his time swum upstream by industriously tossing off scripts. Pineapple Express and The Green Hornet told of his one-tracked interest in do-gooding beta males, and his latest project travels down the same road, all the way to the end.

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The Act of Killing

Nick Hasted

If the Nazis had remained in power, and the Holocaust been hushed up and excused, how might an SS officer feel in his autumn years about those slaughters in Belorussian clearings? What happens when the culture that demanded mass murder simply continues, and the murderers are treated as heroes, free to bask in their rewards for half a century?

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DVD: Tabu

Tom Birchenough

With its story of youthful love entrapped by fate, Tabu relishes the glorious primal energy of the South Seas, which was where German director FW Murnau, best known now for his expressionist Nosferatu, but then recently established in Hollywood and acclaimed for the likes of Sunrise, found himself in 1929.

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Stories We Tell

Emma Simmonds

"When you are in the middle of a story it isn't a story at all, but only a confusion," writes Margaret Atwood in Alias Grace, and it's these words that open Stories We Tell, fellow Canadian Sarah Polley's fourth film. This is Polley's first documentary - although it hardly does it justice to call it that.

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World War Z

Adam Sweeting

The most interesting thing about this movie is what it says about the changing relationship between film and television. It's becoming commonplace to hear actors, writers and directors claiming that TV is now the place to be for powerful drama with narrative scope and rounded characters.

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Shun Li and the Poet

Tom Birchenough

Italian documentarist Andrea Sigre’s first feature captures with great tenderness the delicate balance of friendship that grows up between two characters who live as relative outsiders in their community.

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Before Midnight

Emma Simmonds

Before Midnight is the third part in Richard Linklater's romantic series starring Ethan Hawke and Julie Delpy as star-crossed lovers Jesse and Celine. It's a sequence of films that began in 1995 with Before Sunrise (pictured below right), where the two spent a night wandering Vienna, falling in love.

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Man of Steel

Adam Sweeting

The story goes that Ben Affleck was in the running to direct the latest Superman "reboot", but decided against. "A lesson I've learned is not to look at movies based on budget," he said. "Story is what's important."

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Much Ado About Nothing

Matt Wolf

Ever wondered what Buffy the Vampire Slayer and Angel creator, not to mention superhero movie A-lister Josh Whedon, does during his down time? Well, apparently he gets his pals together to have a go at the Bard. And by way of proof, along comes Whedon's film adaptation of Much Ado About Nothing, which plays like nothing so much as a home movie in Elizabethan tongue.

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PARADISE: Love

Kieron Tyler

The likelihood of leaving a screening of PARADISE: Love without feeling either queasy or at least a little off balance is low. This realist-styled portrayal of middle-aged Teresa’s excursion to Kenya to seek intimacy and, inevitably, sex is awkward viewing. Some scenes are so uncomfortable to watch that their imprint will be permanent. PARADISE: Love is made all the more an assault on perceptions of acceptability by being entirely unjudgemental.

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Stuck in Love

Matt Wolf

People genuinely care about words in Josh Boone's directing debut, Stuck in Love, and that's as might be expected from a film that went by the name of Writers when it premiered in Toronto last autumn. So the first thing to be said is that this likable American indie is nicely written (a rarity in itself these days), notwithstanding an ending that trades heavily on the inevitable uplift that is the Hollywood norm even in such low-budget climes.

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Aguirre, Wrath of God

Graham Fuller

The first image in Aguirre, Wrath of God (1972) shows clusters of mist hovering over the darkened Andes. Mirroring the implacability of the terrain, Popol Vuh’s synth score evokes a celestial choir hymning the mountains' numinous might, worried though the music is by faint high-pitched vibrations.

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Behind the Candelabra

Matt Wolf

The party's over in more senses than one in Behind the Candelabra, the Steven Soderbergh film dedicated to the proposition that all that glitters is most definitely not gold. It charts the downward spiral of the relationship between the American king of piano-playing glitz, Liberace, and his onetime "chauffeur" and companion, Scott Thorson.

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