Film
Nick Hasted
Build My Gallows High, Farewell, My Lovely: Cold Comes the Night. The cod-profound, slightly tortured syntax of its title is in the lineage of downbeat pulp fiction Tze Chun’s film aspires to. Its strength is its delineation of a working-class world in upstate New York, where single mother Chloe (Alice Eve) manages a motel popular with prostitutes, her sleazily handsome local policeman ex- Billy (Logan Marshall-Green, pictured below right with Bryan Cranston) takes a cut of the action, and she tries to hang on to her beloved young daughter from a social worker convinced she’s being raised in Read more ...
Matt Wolf
A film once touted as surefire Oscar bait instead looks set to clean up at the Golden Raspberry awards (or Razzies) if this preposterously inept biopic of the world's best-known woman finds the fate it deserves. Cloth-eared, cynical, and not even blessed with a persuasive star turn to show itself off, Diana seems destined to become the stuff of camp: the sort of thing the Prince Charles Cinema might be screening before too long to gleeful hordes chiming in on cue with the script's multiple howlers.It needn't have been this way, of course, given just how much dramatically rich intrigue Read more ...
Tom Birchenough
Kieran Evans’s debut feature, adapted from the novel by Niall Griffiths, achieves a rare and accomplished sense of place in its depiction of Liverpool. It’s a place of chilly but not actually threatening cityscapes, with an air of space and windy sunshine, from which the film’s eponymous protagonists retreat into a private bedroom world.Kelly (Antonia Campbell-Hughes) and Victor (Julian Morris) catch each other’s eye across the dance floor, and they’re soon spiralling into a relationship. It's gradually revealed that she’s been hurt in the past, and has ended up with a very particular way of Read more ...
Tom Birchenough
Eleven life stories, and memories stretching back more than half a century. The protagonists of Sebastian Lifshitz’s Les Invisibles (The Invisible Ones) tell their different stories of growing up homosexual in France in years when their sexual identity was far from accepted by society. What a kaleidoscope of experience they have behind them, how moving a perspective they present as they view the lives they have lived from age. This is a film as much about looking back, about le temps perdu, as it is about the ramifications of sexual orientation.Some talk hesitantly, other unstoppably. They Read more ...
Graham Fuller
The reason to obtain a DVD or Blu-ray disc of Sarah Polley's unforgettable documentary is because making sense of it requires several viewings. What starts out as a straightforward memoir centred on the presence of an absence – her mother Diane, lost to cancer at 54 in 1990, when Sarah was 11 – turns into a kaleidoscopic meta-narrative that makes the Canadian actor-director ponder her motives.The impassive on-screen observer of the perplexing oral history of her engendering, Polley seemingly works from a position of clarity toward the realisation that families are conundrums, for everyone. Read more ...
Kieron Tyler
The malign influence of the big city on countryside folk has fuelled filmmakers since cinema had the means to produce feature-length productions. In 1927, with the America-made Sunrise: A Song of Two Humans, F. W. Murnau brought the disruptive forces of the urban to a farmer in the form of a woman. Following her back to city, he suffered the consequences. In this tradition Metro Manila, filmed in the Philippines, has nothing affirmative to say about the islands’s capital city.Oscar Ramirez (Jake Macapagal) is a rice farmer in the Philippines’ Banaue Province with a wife and two young Read more ...
Beeban Kidron
While newspapers alternately praise and panic about the glittering world of the Internet, there is a generation of children who have grown up with 24/7 connectivity and a smart phone in their hand.Public discourse seems to revolve around "grooming" and "privacy", two issues that embody the fears and concerns of adults. What is less discussed is what it really means to always be on, never alone and increasingly bombarded by a world that has something to sell you and appears to know you better than yourself. A world that is so ubiquitous that it is the first and the last thing you see as you Read more ...
Graham Fuller
Seeing and hearing A Field in England's Richard Glover sing "Baloo, My Boy" while in bedraggled character reminded me of the power often exerted by songs explicitly or implicitly germane to a movie's narrative. They tend to have far greater resonance than songs added during post-production to build atmosphere, stoke emotions, or sell soundtrack albums, not that there aren't stirring examples of extra-diegetic songs: Tex Ritter's "The Ballad of High Noon", "The Windmills of Your Mind" in the 1968 The Thomas Crown Affair, "I Wanna Be Adored" in Welcome to Sarajevo, and "Skyfall", to name four Read more ...
Graham Fuller
Raoul Walsh's 1941 High Sierra, a late entry in the Warner Bros gangster cycle, made Humphrey Bogart a star. It was adapted by John Huston from the novel by WR Burnett, who was also the author of Little Caesar and one of Scarface's screenwriters. A fatalistic character study of a Dillinger-like bankrobber with a craving for domestic bliss, the film indicates that human striving is a fool's errand. It thus augurs film noir – notwithstanding Tony Gaudio's gleaming black-and-white outdoors cinematography (surely influenced by Ansel Adams). Huston and Bogart's next collaboration, The Maltese Read more ...
Matt Wolf
If you're going to make a film whose title mocks a particular tone of voice, it helps to have a voice of your own. And that turns out to be one of the many hugely beguiling aspects of In A World ... , the actress Lake Bell's first film trebling as writer-director after years playing goofball also-rans in films starring the likes of Meryl Streep. A wry look at Hollywood and the (sometimes) wonderfully whacked-out people who inhabit it, the venture takes its name from the doomily spoken opening words beloved (or not) of movie trailers. How lovely, then, that Bell's own achievement heralds so Read more ...
David Benedict
BBC Four’s new series Sound of Cinema: The Music that Made the Movies is shocking. The overwhelming majority of arts-based TV consists of programmes consigning specialist knowledge/presenters to the sidelines in favour of dumbed-down, easily digestible generalisations mouthed by all-purpose TV-friendly faces. But this three-part series is fronted by, gasp, a composer who uses insider knowledge to hook and hold the viewers.To be fair, film composer Neil Brand was onto a winner since TV, the home of show and tell, is an ideal place in which to examine and explain exactly how music works with Read more ...
Demetrios Matheou
One of the most mystifying of working relationships is that between an artist and model. For any sitter the experience must be tiring, if not tiresome, but for the artist their compliance is as integral as paint or clay; one may become famous, while the other remains anonymous, the silent partner in a work of art; there’s also the fact that, in the most common permutation, the arrangement involves a man staring for hours at a naked woman, without reproach – and where else can you find that? Well, filmmaking.The Artist and the Model is not the first film to explore the relationship, nor the Read more ...