Film
Jasper Rees
Nostalgia for the good old days of mutually assured destruction? You’d have got long odds on such a thing on 9 November 1989, the day the Berlin Wall was breached. A quarter of a century on, the Americans and the Russians are entangled in a whole other theatre of war in which the idea of negotiating with the enemy is unthinkable. The Soviets may have been abominable commie bastards but, hey, our guys could still clink a glass with them. So Steven Spielberg is able to visit the Cold War in something like a spirit of levity.Bridge of Spies is much more overtly an entertainment than Schindler’s Read more ...
Adam Sweeting
The city of Boston has been creeping up the charts as a hotbed of cinematic criminality in the last decade. First came Martin Scorsese's Oscar-scooping epic The Departed, then Ben Affleck chipped in with The Town, both movies driven by their portrayal of tightly-knit groups of characters immovably rooted in their native Bostonian soil.You could almost see Scott Cooper's Black Mass as completing a trilogy. Indeed, its two leading characters, Irish mobster James "Whitey" Bulger and FBI agent John Connolly, are the real-life versions of the Jack Nicholson and Matt Damon roles in The Read more ...
Jasper Rees
There’s never been any agreement about translating the participle. Its victory as 1968’s best foreign film is listed on oscars.org as Closely Watched Trains. The novel by Bohumil Hrabal is generally known in English as Closely Observed Trains, and that is the phrase that, in the subtitles, issues from the lips of an official who warns the railway guards in a Czech village station to do their best for the Reich. In either translation it’s a misnomer. Jiří Menzel’s masterpiece, and perhaps the greatest monument of the Czech New Wave, is really about men closely observing women.Václav Neckář Read more ...
Demetrios Matheou
New York, in the early 1950s. Twenty-something Therese Belivet is working in a Manhattan department store at Christmas, wearing a Santa hat and dutifully trying to overcome her boredom. Then Carol Aird strides into view – classy, confident, patrician Carol, archly eyeing the shop girl and nonchalantly buying the most expensive toy on offer, before leaving her gloves on the counter behind her. Therese’s life is about to change dramatically.The director Todd Haynes not only tells stories set in the past, notably in America between the Thirties and Fifties, but he also makes films that feel as Read more ...
David Kettle
First-time writer/director Sanna Lenken’s touching anorexia drama is such a heartfelt, fragile thing that it feels churlish to criticise it. Herself a former eating-disorder sufferer, Lenken brings a real warmth and sincerity to her portrait of an ordinary Swedish family rapidly unravelling when their elder daughter seems unable to overcome the horrible physical effects of her aching self-doubt.Precocious tweenager Stella (a magnificent Rebecka Josephson) idolises her older sister Katya (played by former child star Amy Deasismont), dreaming of emulating her figure-skating successes, and Read more ...
Tom Birchenough
The real achievement of this remarkable DVD release from the BFI is the fact that it brings the name of George Hoellering back to our attention as a director. His 1951 adaption of TS Eliot’s verse play Murder in the Cathedral has been virtually unavailable for years, and is the centrepiece of his career, while the accompanying documentaries here reveal a fascinating and diverse talent.Those from the British film world of a certain vintage will certainly remember Hoellering in another role: for 36 years he was very closely involved with the much-missed Academy Cinema on Oxford Street, one of Read more ...
Matt Wolf
What begins as a would-be exercise in camp devolves into perfervid tosh and ultimately tedium in The Dressmaker, a belligerently over-the-top revenge drama that might just about have squeaked by as an opera - an art form better-suited to such deliberately over-the-top theatrics.As it is, even the iciest of stares from Kate Winslet in haute couture mode can't sustain interest in Antipodean director Jocelyn Moorhouse's return to film directing after a long absence. "I'm back, you bastards," Winslet's anger-fuelled Myrtle aka Tilly Dunnage says at the start as she re-enters Dungatar, the Read more ...
Tom Birchenough
Mexico City itself is the dominant presence in Alonso Ruizpalacios’ debut feature Güeros, a road movie that restricts its journey to that megapolis and its environs. It’s not just the traffic that holds them up, more the fact that they don’t really have a destination. As one of its initially dispirited student protagonists says, “Why go if we’re going to end up back here again?”Sombra (Tenoch Huerta) and Santos (Leonardo Ortizgris) are studying at Mexico’s National University – except they’re not, because it’s 1999, when students there went on strike to protest the introduction of fees. The Read more ...
Graham Fuller
There’s nothing more affecting in a 2015 British film than Freddie Jones reciting John Clare’s “I Am” in By Our Selves, the documentary scene that concludes Andrew Kötting’s semi-fictional paean to the Romantic poet of enclosure-traumatised agrarian England. Jones memorised the poem for his portrayal of Clare in a dramatised 1970 Omnibus instalment, ironic sound bites from which Kötting wove into his film’s aural tapestry.The venerable actor, 88, couldn’t recall all the lines, though he indicates he would’ve done if his interlocutor Iain Sinclair (Kötting’s collaborator here, as on 2012's Read more ...
Adam Sweeting
By the end of the 1960s, Steve McQueen was at the top of the Hollywood heap. Star turns in The Great Escape, The Thomas Crown Affair and Bullitt had established him as the King of Cool, a self-contained anti-hero whose minimalist, watchful performances radiated a mysterious sex appeal.But, as this haunting documentary by Gabriel Clarke and John McKenna explains, the instinctively rebellious McQueen had a burning desire to throw off the shackles of the big studios. Thus he formed his own production company, Solar Productions, and, funded by a deal with Cinema Center Read more ...
Kieron Tyler
Fritz Haarmann was – although the term wasn’t in use at the time – the first murderer to be recognised in Germany as a serial killer. He was executed in 1925 after being found guilty of 24 killings. Filmed in late 1973, Tenderness of the Wolves dramatises aspects of the case. It is directed by Rainer Werner Fassbinder’s frequent collaborator Ulli Lomell – they had most recently worked together on Effi Briest. Nonetheless, Fassbinder produced and acted in Tenderness of the Wolves, and many of his regular players including Margit Carstensen, Ingrid Cavena and Kurt Raab appear. A very creepy Read more ...
Tom Birchenough
David Sington’s The Fear of 13 is many things – blisteringly immediate, compelling, emotionally devastating – but at times it may have you pondering whether it fits into any traditional “documentary” category.Over the hour-and-a-half of its run, it has us readjusting our perceptions on that score, as well as teasing us slowly towards understanding its subject. The mystery starts with the opening screen title that tells us that, after two decades on America’s Death Row, a convicted murderer has petitioned the court that his sentence be carried out – that he be executed. The monologue that Read more ...