Film Reviews

The Kid With a Bike

Demetrios Matheou Thursday, 22 March 2012

There are many directors who profess (or have claimed for them) one sort of naturalistic cinema or another, from Ken Loach in the UK, to Bruno Dumont in France and Lisandro Alonso in Argentina. It’s an odd characteristic of the Belgian brothers Luc and Jean-Pierre Dardenne, that one feels almost discourteous to give them any such label.

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The Hunger Games

Emma Dibdin Wednesday, 21 March 2012

Given the numerous and now pretty tiresome comparisons that pundits and punters alike have drawn between the Hunger Games trilogy and the inexorable Twilight saga, it’s worth taking a moment to imagine how the franchises’ respective heroines might get on if they actually met. One can’t imagine they’d see eye to eye on much.

Bill Cunningham New York

Fisun Güner Friday, 16 March 2012

If you’re the kind of person who appreciates auto-recommendations based on previous purchases, then perhaps I could do worse than begin this review by saying:” If you liked The September Issue, you’ll simply love Bill Cunningham New York.” There are obvious similarities: both are Cinema Verité-style documentary profiles centred around New York and fashion, both present a series of talking heads, and both feature the formidable Anna Wintour, managing editor of American...

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21 Jump Street

Veronica Lee Friday, 16 March 2012

Those of a certain age will remember the television series 21 Jump Street, a huge hit for the then fledgling Fox network in America. It ran from 1987 to 1991 and starred Johnny Depp. The titular address was where he worked as an undercover cop, one of a team of youthful officers investigating crimes in high schools and colleges.

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In Darkness

Jasper Rees Friday, 16 March 2012

The world has heard of Schindler’s Jews, who were saved from the gas ovens by the patronage of an enlightened German industrialist. Socha’s Jews are not quite so celebrated. There are number of reasons for that. For a start, many fewer Jews were saved in this narrative, and their story has not found its own Thomas Kenneally - nor until now its Steven Spielberg.

Contraband

Adam Sweeting Thursday, 15 March 2012

I always used to avoid any film that had Mark Wahlberg in it, because he seemed to have the acting skills of a park bench. Then I saw The Departed - because you have to see Marty's movies - and thought he was brilliant as the astonishingly foul-mouthed Sergeant Dignam. Now I've seen Contraband and regrettably, it may be time to revert to Plan A.

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Once Upon a Time in Anatolia

Emma Simmonds Monday, 12 March 2012

A police procedural played out over a long dark night of the soul, Once Upon a Time in Anatolia is the magnificent sixth feature from Turkish writer / director Nuri Bilge Ceylan (Three Monkeys, Uzak). So much more than a simple thriller, it transforms a murder investigation into something gratifyingly profound and perversely beautiful; its grizzled, largely unfamiliar faces and their tales of woe will remain with you long after the end credits roll.

Trishna

alexandra Coghlan Friday, 09 March 2012

Literary adaptations are a godsend to an industry that loves a good story but is too busy blowing the budget on chase sequences and explosions to pay a decent screenwriter.

Bel Ami

Matt Wolf Thursday, 08 March 2012

Many a redoubtable British theatre talent has stumbled at the altar of cinema before, which is another way of saying that Bel Ami is hardly the first film to suggest that not every heavyweight of the London and international stage - in this case two such titans in Cheek By Jowl supremos Declan Donnellan and Nick Ormerod - is to the celluloid manner born.

Cleanskin

Adam Sweeting Thursday, 08 March 2012

Hats off to independent British writer/producer/director Hadi Hajaig, who has doggedly piloted his thriller Cleanskin to the screen and picked up distribution support from Warner Bros in the process. Hajaig was never going to be splashing around in a Bourne- or Bond-sized budget, but he has played up the flick's British roots with pungent use of some prime London locations.

The Decoy Bride

Emma Simmonds Tuesday, 06 March 2012

With its near-simultaneous cinema and DVD release ringing alarm bells to rival Big Ben, The Decoy Bride takes talent and stuffs it into a GM turkey of a film. This insincere romantic comedy from director Sheree Folkson is replete with wobbly accents, head-slapping clichés, cardboard characters, preposterous plot developments, all flanked by a distractingly dire TV movie score.

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Blank City

Graham Fuller Sunday, 04 March 2012

Céline Danhier’s Blank City is a useful but slightly frustrating primer on the grass-roots No Wave cinema movement that blossomed in New York’s East Village and Lower East Side in the post-punk era of the late Seventies and early Eighties.

Michael

Fisun Güner Friday, 02 March 2012

Michael is a work of fiction, but it is also clearly an amalgam of real-life events. For first-time Austrian director Markus Schleinzer (former casting director for Michael Haneke, whose influence you may detect), the subject must have particular resonance: in this story of a child abduction by a lone paedophile, it’s unavoidable that we think of Josef Fritzl and Wolfgang Priklopil, as well as Belgian child-killer Marc Dutroux.

This Means War

Matt Wolf Thursday, 01 March 2012

Forget the action movie trappings of the aggressively titled This Means War: the latest film from the enigmatically named McG has a plot that Noel Coward might well have loved. Whether Sir Noel would have approved of the witless dialogue and the decidedly coy sexual politics is another thing altogether, though he doubtless would have admired the three stars' physiques.

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Carancho

Demetrios Matheou Wednesday, 29 February 2012

In the UK we call them ambulance-chasers, those personal injury lawyers who prey on the victims of accidents, encouraging them to seek compensation, in return for a tidy fee. The Argentines, as the title of Pablo Trapero’s new film suggests, have their own word for this mucky breed – vultures.

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If Not Us, Who?

Tom Birchenough Wednesday, 29 February 2012

The Red Army Faction was Germany's key revolutionary force for a decade from the late 1960s onwards, and its story, especially the characters of Ulrike Meinhof and Andreas Baader, has proved highly attractive to the country's filmmakers. Uli Edel’s 2008 The Baader Meinhof Complex told the key political story in lengthy detail through to its end in 1977 when four of its key members (in the official version) committed suicide in prison.