Film Reviews

LFF 2013: The Past

Demetrios Matheou Friday, 18 October 2013

Asghar Farhadi’s Oscar-winning A Separation was a marriage of drama, melodrama and social observation that was beyond compare; it’s expecting too much of his new film to equal it. That said, The Past confirms that few can match the Iranian's attention to the psychological minutiae of family relationships. It's riveting.

LFF 2013: Floating Skyscrapers

Tom Birchenough Thursday, 17 October 2013

Ground-breaking though it is as one of the first gay films to come out of Poland, Tomasz Wasilewski’s Floating Skyscrapers brings home how happy endings on such subjects are hardly to be hoped for in the conservative, Catholic country. Wasilewski’s second feature has real visual style though, with laconic imagery and accomplished performances. It has garnered plentiful festival acclaim already, and opens in the UK in December.

LFF 2013: Enough Said

Karen Krizanovich Thursday, 17 October 2013

James Gandolfini stars as an overweight charmer in the best romantic comedy of the year, written and directed by Nicole Holofcener (Friends With Money). As Albert, Gandolfini – it's one of his last roles, in a film dedicated to “Jim” – brings all his warmth and allure to bear on lively divorced masseuse Eva (Julia Louis-Dreyfus).

LFF 2013: Adore

Nick Hasted Thursday, 17 October 2013

Naomi Watts’s rare misstep with Diana is forgotten as this playfully provocative tale of female friendship and forbidden love unfolds. It’s an equally rare return to Australia for Watts, who plays Lil, whose deep childhood bond with Roz (Robin Wright) lasts into middle-age, as their respective teenage sons Ian (Xavier Samuel) and Tom (James Frecheville) join them in an idyllic life spent roaming freely between neighbouring beach-side homes.

LFF 2013: We Are the Best!

Nick Hasted Thursday, 17 October 2013

The Lukas Moodysson who made Together in 2000 has been missing in action ever since. Its charmingly optimistic look at a Seventies Swedish commune and tremendous use of Abba was followed by severe and sometimes experimental films, self-flagellating and touched with despair, as Moodysson confronted how truly terrible lives can be.

LFF 2013: Under the Skin

Emma Simmonds Wednesday, 16 October 2013

It's been nine years since Jonathan Glazer's last film, the courageous and underrated Birth. If that film had its moments of audacity then Under the Skin - an adaptation of Michel Faber's gloriously revolting novel - is a real feast of filmmaking flair, which elevates its director to the rank of auteur. Glazer resists the book's explanations, and ultimately its message, in favour of something more intriguing and unsettlingly ambiguous.

LFF 2013: Night Moves

Nick Hasted Wednesday, 16 October 2013

Jesse Eisenberg’s second film of the LFF is Kelly Reichardt’s low-budget, simmering thriller, confirming his work-led choices since The Social Network. “This was the only blockbuster I was offered,” he deadpanned, asked at the first screening’s Q&A about the giant roles that must be coming his way. “I sure was surprised when I got on set...”

LFF 2013: Don Jon

Karen Krizanovich Wednesday, 16 October 2013

Playing against his wholesome appeal, Joseph Gordon-Levitt's debut outing as a writer/director spins a comedy of internet porn addiction, love, family, church – and a man who loves to do his own cleaning. Set in contemporary New Jersey, Gordon-Levitt is Jon, a muscle-bound young greaser who loves the ladies but prefers his own hand.

The Broken Circle Breakdown

Kieron Tyler Wednesday, 16 October 2013

The components of The Broken Circle Breakdown don’t seem as though they would make for a coherent whole. The film is Belgian with Flemish dialogue. Infatuated with bluegrass music and a mythical America, a leading character lives his life as a low-countries cowboy. It’s a poignant family drama. Yet little feels forced and nothing is played for novelty. You’d have to have a heart of coal to not tear up.

Like Father, Like Son

Tom Birchenough Tuesday, 15 October 2013

From the simplest of precepts Japanese director Kore-eda Hirokazu spins a marvellously tender story of parents and children in Like Father, Like Son, as well as a subtle portrayal of the nuances of contemporary Japanese society. The emotions resound insistently but quietly, like the melodies of Bach’s Goldberg Variations that recur through the film, which won the Jury Prize at this year’s Cannes film festival.

LFF 2013: Inside Llewyn Davis

Nick Hasted Tuesday, 15 October 2013

Showbiz is a cruel and mysterious cosmic code that can grind the artist down, before he comes close to cracking it. That’s the message behind the Coen brothers’ elegy to the Greenwich Village folk scene of 1961. Llewyn Davis (Oscar Isaac) stands bruised and baffled at its heart.

Prince Avalanche

Nick Hasted Monday, 14 October 2013

Terrence Malick meets Judd Apatow: that was the expectation when Texan auteur David Gordon Green unexpectedly swerved into broad comedy with Pineapple Express. Prince Avalanche finally fits that bill, after three big Hollywood studio films where the Green responsible for the intensely beautiful and romantic George Washington and All the Real Girls seemed to be vanishing out of sight.

LFF 2013: The Double

Emma Simmonds Monday, 14 October 2013

Richard Ayoade's follow-up to the highly promising Submarine centres on another pretty hopeless young man; yet this time his protagonist's predicament is considerably more grave, even if matters are no less amusing. Based on the novella by Fyodor Dostoyevsky and co-written by Ayoade and Avi Korine (brother of Spring Breakers' helmsman Harmony), The Double sees Jesse Eisenberg tormented by a duplicitous doppelganger.

LFF 2013: Abuse of Weakness

Demetrios Matheou Monday, 14 October 2013

In 2004 French director Catherine Breillat suffered a stroke. Three years later, she was cheated out of nearly a million euros by a known conman whom she was intending to cast in a film. She later suggested he took advantage of her still-reduced mental capacities.

LFF 2013: Blue Is the Warmest Colour

Karen Krizanovich Sunday, 13 October 2013

Go for the lesbian sex, leave knowing relationships are all the same: that's the nutshell of French-Tunisian director Abdellatif Kechiche's explicit, intimate and lengthy drama Blue Is the Warmest Color (aka Le Vie D’Adèle), the Palme d’Or winner at this year’s Cannes Film Festival.

LFF 2013: Grand Central

Tom Birchenough Saturday, 12 October 2013

Rebecca Zlotowski catches the blue-collar underbelly of France at dangerous work and uneasy play in her second feature Grand Central. Tahar Rahim from A Prophet leads as Gary, rejected by his family and looking for any job going: it turns out to be maintaining the huge nuclear plant that dominates the film’s Rhône landscape (and provides its title). Camaraderie grows convincingly between veterans and newcomers, as they live together and bond in a caravan park.