Film
emma.simmonds
The Shrek series is resurrected once again for this amiable, action-packed - if less than purr-fect - 3D spin-off, featuring everyone’s favourite diminutive swashbuckler. If the franchise was a feline it would be running out of lives (and good will) fast, but fortunately this prequel leaves the magical land of Far Far Away, well, far, far away - instead setting its story amidst the red dust and diabolical double-crossing of a spaghetti western.After his summer stint as a maniacal plastic surgeon (in Almodóvar’s The Skin I Live In), Antonio Banderas is back voicing the titular cat, wielding a Read more ...
Jasper Rees
Another Earth begins, like many more reliable but less ambitious films, with a life-changing event. A young astrophysicist is involved in a collision. Climbing unharmed from her vehicle, she finds a woman and child dead by her hand. Four years later she emerges from prison and attempts to make contact with her surviving victim, who turns out to be an eminent composer. Her nerve fails, but still she finds herself worming her path into his world.This would be a promising enough scenario if left to ferment, but scriptwriters Brit Marling and Mike Cahill have altogether higher ambitions. The Read more ...
David Nice
Among the many singularities of Pasolini’s films, the proportions of his narrative structure have to be the strangest. Here we, like the young Jason who grows before our eyes, get a six-minute introductory lecture from the hero's foster centaur which tells us what to look out for in the obscurities that follow: all is sacred, nature is never natural, myth and ritual are a living reality, this is a story of deeds, not thoughts. Then there’s hardly any dialogue for the next hour or so: look away, if you’re squeamish, at the climax of the chthonic rituals to which Medea's Colchians who guard the Read more ...
emma.simmonds
Idiotically buried by a release which sees it appearing on just one screen nationally, Kenneth Lonergan’s triumphant follow-up to his Oscar-nominated debut You Can Count on Me (2000) is, without a scintilla of a doubt, one of the finest films of 2011. Rich, resonant and with a meticulous approach to characterisation, it captivates, convinces and challenges.Margaret opens on the streets of New York in intermittent slo-mo, giving the impression of a city collectively under strain (not least as such images are sombrely set to Francisco Tárrega’s "Recuerdos de la Alhambra"). Our protagonist is Read more ...
Nick Hasted
Melancholia and The King’s Speech were the big winners at the European Film Awards in Berlin last night. Last year, Roman Polanski accepted The Ghost’s numerous awards in Tallinn by Skype, self-exiled by his deeds (and the fear of being clapped in irons by the US if he travelled). It was Lars von Trier’s words which kept him away as Melancholia won Best Film. The furore at Cannes when, musing on his recently discovered German ancestry (having previously thought himself Jewish), he joked with trademark provocation that he was a “Nazi” has made the Dane take a vow of public silence, sending his Read more ...
william.ward
In his home country, the release of the latest film by Nanni Moretti is always an event, all the more so in the case of We Have a Pope – a bittersweet psychological comedy with tinges of tragedy about a cardinal who is elected to the throne of St Peter, has a panic attack, and does a runner leaving the Catholic Church in crisis and the world media with a bonzer news story. It arrives a full five years after his last outing, Il caimano.A profound neurotic whose long-term relationship with psychoanalysis seems to have resolved little, but which has provided him with endless material for his Read more ...
emma.simmonds
As gentle and emotionally affecting as they come, Argentinian director Pablo Giorgelli’s feature debut is the tenderly told story of the burgeoning bond between a migrant mother and a slightly grizzled, taciturn trucker, which gingerly moots the possibility of romance. It’s a wise and disarming tale of hope and unspoken sadness which, though you’ll barely notice it doing so, will work its way right under your skin.In Las Acacias Germán de Silva (main image and below right with Hebe Duarte) plays Rubén, a gruff and withdrawn long-distance lorry driver. As a favour to his employer he has agreed Read more ...
Adam Sweeting
Connecticut-born Jules Dassin graduated from lightweight suspense and comedy fodder for MGM to pungent, location-based crime dramas, hitting his stride with Brute Force (1947) and The Naked City (1948), both included in this package. However, his upward trajectory was derailed after he was identified as a communist at the HUAC hearings. Producer Darryl Zanuck gave Dassin the script for Night and the City and dispatched him to London to shoot it, days before the Committee was due to grill the director. Then Dassin relocated to France, where he created the noir masterpiece - and the third Read more ...
Matt Wolf
It's tempting to say that Martin Scorsese's first so-called "family film" works like clockwork, except that the movie possesses considerably more soul than that statement suggests. What's more, it would help to be a clan of thoroughgoing cinéastes to tap entirely into its charms, as a director steeped in the history of his chosen medium takes us backwards in time towards the very origins of the art form he so reveres. Kids may love the sweep and scope of the visuals, many of them involving timepieces that whir and tick and hum, but Hugo at heart is an extended act of homage toward the miracle Read more ...
Adam Sweeting
John Carpenter's original The Thing from 1982 had punch, pace, shocks, horror, dramatic tension and Kurt Russell in the lead. It also had a great intro, with its scenes of an apparently blameless and photogenic husky being pursued across Antarctica by gunmen in a helicopter. How we cheered when the animal was saved. How we shouldn't have.It's indicative of the low calibre of this so-called "prequel" that Carpenter's opening now becomes a belated, tacked on ending, stopping (with slavish literal-mindedness) a few frames short of where Carpenter's film began. We learned in the previous movie Read more ...
Veronica Lee
There are times when one marvels that some films ever get the green light; whether it's difficult subject matter, unknown leads or first-time directors, they each have their own, different hurdles to cross with studios more interested in the bottom line than creating art. But with a film such as The Big Year, one wonders that it ever got made for different reasons - for despite its A-list stars, a director with a successful track record and an unusual (maybe even unique) storyline, it really is one that should never have got beyond the conference-call stage.It tells the story of three Read more ...