film directors
David Nice
Fans of this bewilderingly popular musical, and they are legion, will not be disappointed. Director Tom Hooper knows how to tell a fast-moving tale that makes light of the final running time (originally 158 minutes, slightly shorter in this DVD release, which offers no extras. Those who went to the film more than once will, I'm told, miss a couple of scenes). The lighting is appropriately lugubrious, most of the settings convincing – though occasionally there’s too much dependence on CGI – and famously the singing actors perform their numbers on set, often in long takes. Casting is strong, Read more ...
Adam Sweeting
The 1988 uprising in the French colony of New Caledonia, in the Western Pacific, is apparently unknown to most French people, let alone we rosbifs, but director Mathieu Kassovitz has used the episode as a scalpel with which to probe issues of colonialism, race and political cynicism. It's something of a return to issues Kassovitz explored in La Haine (1995), following his excursions into the supernatural and sci-fi with Gothika and Babylon AD.The setup is pretty simple. A group of Kanak separatists launches a surprise attack on a gendarmerie on the island of Ouvéa, killing four French Read more ...
Adam Sweeting
"There are no second acts in American lives," said F Scott Fitzgerald, but he had failed to include Ben Affleck in his calculations. "This is a second act for me," announced Affleck, as he collected the Best Director award for his work on Argo at the recent BAFTAs in London, "and you're giving me that and this industry has given me that. I want to dedicate this to anyone else trying to get their second act - you can do it!"Stirring stuff. With Argo storming on to collect the Oscar for Best Film, the culmination of a brilliant streak of accolades from the Golden Globes, Screen Actors Read more ...
Nick Hasted
Does it matter if film dies? Keanu Reeves, always cannier than his limited acting style suggests, produces and presents this even-handed documentary on analogue’s apparently fatal decline in the face of a very recent digital onslaught. His contact book brings enviable witnesses to the stand for director Chris Kenneally. If the world-famous directors and generations of legendary cinematographers don’t know the answer, maybe there isn’t one yet. Side by Side is partly a manual in how films are made, the way in which light pours through camera apertures to create images, Read more ...
Demetrios Matheou
Often it takes a generation or two before a country can address its dark days on films; Hitler didn’t feature in a central role in a German film until Downfall, in 2004. This timorousness was certainly the case in Chile, where in the immediate years following the end of General Pinochet’s dictatorship, in 1990, the local cinema was dominated by sex comedies.But the renaissance in the country’s film industry over the past decade has been accompanied by a willingness to look back. Andres Wood’s Machuca led the way, in 2004, with a powerful child’s-view account of the days leading to the army Read more ...
theartsdesk
Yesterday our film writers brought you numbers 10 – 6 in our movies of 2012 countdown. Looking back over that list it’s hard to imagine a clutch of finer films. Yet, testament to a year of remarkable filmmaking, it’s a hell of a race to the finish, taking in sex addiction, murder, spies, hostages and cults. And so we present our final five. Drumroll please…5 – Once Upon a Time in Anatolia (dir. Nuri Bilge Ceylan)Road movie, rumination of the meaning of life and death, shaggy dog story about dealing with a corpse, manual on the best in yoghurt, depiction of the transgressions which break Read more ...
Karen Krizanovich
It’s rare to get excited about a DVD release. It is even rarer to get excited about a director. Margin Call and its director JC Chandor are rare exceptions. Devised in 2005, the idea for the film came about when the director and his chums, testing the waters of the volatile yet lucrative New York property market, were offered $10m by a bank - few questions asked. By 2006, their plan of buying a building, renovating and flipping it became an undone deal as one of Chandor’s group pushed them to sell up - an act thatproved to be prudent in hindsight.Built upon those real-life tensions, Margin Read more ...
Nick Hasted
Julien Temple’s directing career has been struck seemingly stone-dead twice. After working with Malcolm McLaren and the Sex Pistols on The Great Rock’n’Roll Swindle (1979), then again after the flop big-budget British jazz musical Absolute Beginners (1986), he was made a notorious cinema untouchable in the UK. Exiled in Hollywood, he fell back on his parallel life as a landmark pop video auteur.But during the last decade Temple has bounced back to become the world’s most exhilarating and influential rock documentarian, with films using cut-up, rapid-fire film grammar to tell a story of post- Read more ...
theartsdesk
John Carpenter: Halloween II/Halloween IIIKieron TylerPeople celebrate Halloween in different ways, but the arrival of these reissues of the soundtrack music to two John Carpenter horror films is enough to put pumpkins, cut-out bats and capes in the shade. Both are landmarks in using electronic music for cinema, and both are a great, spooky listens. Even when divorced from the imagery.Carpenter had already worked with composer Alan Howarth on the music for Escape From New York (1978) and the pair reunited in 1981 to create a score for Halloween II. Howarth built the new music around Read more ...
josh.spero
Hitchcock was fond of the locked-box mystery, but never in the obvious form: whether it’s the leads in Rope, stuck in their apartment with a body shut up in a trunk, or the survivors from a ship murderously bobbing along together in Lifeboat, the trap was all. James Stewart as LB Jefferies in Rear Window is another man locked in a box, this time kept in his apartment by his broken leg. But clever old Hitchcock – he sets the mystery outside the box.There is another box too: the one Stewart’s window faces onto, the one whose bottom is a communal courtyard in New York, whose sides are other Read more ...
Graham Fuller
“A dirty fairy tale” was one of the encomiums lobbed at The Apartment in June 1960, nine months before it won Billy Wilder and I A L Diamond the Academy Award for Best Original Screenplay and Wilder the Oscars for Best Picture and Best Director. Although The Saturday Review’s influential Hollis Alpert was critically off the mark when he disparaged Wilder’s serious adult comedy, he was right to describe it as a fairy tale. A prince does rescue a princess after an ogre’s cruel treatment of her has caused her to fall into a fatal sleep.The “dirty” part is more complex. The premise is undeniably Read more ...
howard.male
It would be an impossible to do a comprehensive global history of cinema in just 15 hours. You could attempt it by throwing hundreds of thousands of second-long clips at the viewer in a firework display of celluloid. But film-maker and critic Mark Cousins opts for gentle hypnotism over dazzling pyrotechnics. In the opening episode alone, in a lucid correlation of words and images, he shows us how filmmakers evolved a grammar for this new medium which took full advantage of an intrinsic plasticity which theatre, photography and painting lacked. The close-up, the flashback, the move from one Read more ...