Film Reviews

Paterson

Saskia Baron Friday, 25 November 2016

Back in the 1980s Jim Jarmusch was a breath of fresh air. He made quiet, quirky films about young urban Americans that dispensed with the prevailing neon-bright high school romances, jocks and suburbia. He was about as far removed from the John Hughes/John Landis/Porky hit machines as you could get. Jarmusch was saturated in obscure B-movies, modern poetry and played in a band. His breakout feature, Stranger than Paradise, starred the then unknown John Lurie, who over the...

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Allied

Adam Sweeting Thursday, 24 November 2016

While it makes for a moderately amusing evening out, this World War Two espionage-romance caper doesn't stand up to a lot of scrutiny (I'm trying to work out where they managed to find the "Best Film of the Year!" quote used in the TV ad).

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The Incident

Markie Robson-Scott Wednesday, 23 November 2016

A pale young girl – we see her blurred reflection in a window – is hanging out at a pizza joint. She follows a customer, Joe, a handsome young architect, out to his car, where he’s waiting for his order, and flirts with him, smoking and dancing beside the open window, asking him if he’s married. She's a teenage wastrel in her tiny shorts, ballet slippers and shiny jacket. Next thing – there’s no explicit sex on view – he’s paying for her services and heading home.

A United Kingdom

Adam Sweeting Tuesday, 22 November 2016

It's remarkable that the story of Seretse Khama, the king of Bechuanaland, isn't more popularly known, though Amma Asante's film may change all that. The movie opens in a smoggy, gloomy London in 1947, where Seretse (David Oyelowo) is completing his studies in law prior to returning to rule his homeland. Momentous change is in the air in the post-war world, as Europe struggles to rebuild and Indian independence signals sundown on the British Empire.

The New Man

mark Kidel Monday, 21 November 2016

First-person documentary must steer the uneasy path between embarrassing confessional, narcissistic self-obsession and work that will resonate beyond the merely parochial context of home movies. The dangers surrounding the genre are of course one of the sources of its potential strength. The intimacy that near-absolute subjectivity affords is a plus. And so is the thrill of perhaps getting a glimpse behind the personae of everyday life.

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Fantastic Beasts and Where to Find Them

Jasper Rees Friday, 18 November 2016

Name seven students in Ravenclaw. Which 14 subjects are on the syllabus at Hogwarts? Create a shopping list of 20 different types of magical sweet. In her Harry Potter stories JK Rowling conjured up an almanack of wizarding facts and figures which, for parents, proved extremely useful during long car journeys or steep mountain climbs (even if this parent didn’t know all the answers). A handy staple was “List 16 magical creatures”.

Gimme Danger

Nick Hasted Friday, 18 November 2016

Jim Jarmusch has made a memorial to the Stooges, more than a celebration of their brutal prime. His Zen rhythms, which roll so movingly through the upcoming Paterson, aren’t entirely equipped for the blunt trauma of Ron Asheton’s guitar, or Iggy Pop’s penchant for sultry chaos.

Dog Eat Dog

Saskia Baron Wednesday, 16 November 2016

Paul Schrader is one of those filmmakers who critics really want to love. Not only is he responsible as a writer for at least two masterpieces – Taxi Driver and Raging Bull – he’s also the director of such great films as Mishima, American Gigolo and Light Sleeper.

American Pastoral

Nick Hasted Friday, 11 November 2016

Ewan McGregor has been judged unworthy of adapting Philip Roth in the US. But his directorial debut is finely crafted, and powered by visceral emotion embodied in one of his best performances. As Seymour “Swede” Levov, he’s an All-Jewish-American hero, living the 1950s dream, till the 1960s bring it crashing down.

Francofonia

Tom Birchenough Friday, 11 November 2016

The Russian director Alexander Sokurov has never been afraid of tackling weighty, often philosophical issues head on, and his latest film Francofonia is as pioneering – and, some might say, unnecessarily uncompromising – as ever. It’s nothing less than a meditation on civilisation, its potential for preservation or destruction, and history, seen through the prism of Paris's Louvre. Stretching, and evading, the conventions of both documentary and fiction, it’s perhaps best considered...

Arrival

Saskia Baron Thursday, 10 November 2016

While the world goes to hell in a handbasket, it’s faintly reassuring to imagine that there might be some intelligent life form out there beyond the stars that’s just waiting to land on our planet and make us all love one another – or swiftly put us out of our squabbling misery, once and for all.

Nocturnal Animals

Matt Wolf Friday, 04 November 2016

Tom Ford steps up to the celluloid big leagues with Nocturnal Animals, a deeply disquieting film that resists classification

The Accountant

Adam Sweeting Thursday, 03 November 2016

You could begin to wonder if The Accountant is part of a game of one-upmanship between Ben Affleck and his old buddy Matt Damon. If Matt can strike it big with Jason Bourne, the amnesiac super-lethal assassin, Ben can go one better – Christian Wolff, an autistic accountant and super-lethal assassin!

A Street Cat Named Bob

Jasper Rees Wednesday, 02 November 2016

Cats on film. There are plenty of them. Elsewhere on the web you will find loads of listicles featuring top cats, boss pussies, big mogs, killer kitties, whiskers galore and other such. Cats get their biggest billing of all in the wonderful if anthropomorphic world of Walt Disney. It’s rare for a cat to be played by a cat in a film about a cat. Cat people will be purring, therefore, at A Street Cat Named Bob.

The Light Between Oceans

Matt Wolf Tuesday, 01 November 2016

Michael Fassbender and Alicia Vikander fell in love in real life while making The Light Between Oceans, which lends an extra dimension to a morose period weepie that needs every bit of excitement it can get. Reminiscent of the laboured celluloid romances of a bygone era that could once have starred Robert Taylor, the film is as vacuous as it is pretty, and if director Derek Cianfrance cut some of his stars' lingering glances, it would have the added virtue of being short....

DVD/Blu-ray: Paris Blues

Kieron Tyler Friday, 28 October 2016

The original 1961 poster for Paris Blues trumpeted it as “a love-spectacular so personally exciting you feel it’s happening to you”. Would it were actually thus. Instead, it’s ponderous and features a cast so obviously “acting” that any verve implied by being filmed in Paris and set in the world of jazz is missing in action. Paris Blues is worth seeing, but don’t expect the pulse to quicken.