Film
Demetrios Matheou
Ask someone to pick their favourite moment from a film by Martin Scorsese, something defining.Many would cite De Niro’s memorable "you talkin’ to me?" challenge to his own leering, gun-toting reflection in Taxi Driver (1976); others, the same actor’s majestic, slow-motion dance around a boxing ring as Jake LaMotta in Raging Bull (1980), or his tragi-comic monologue at the end of that film; others the long tracking shot that follows Ray Liotta’s Henry Hill through the Copacabana in Goodfellas (1990).For me, the indelible scene comes earlier, in Mean Streets Read more ...
Hugh Barnes
Nobody ever forgets The Red Shoes (1948) because it’s a movie that seems to change the way an audience experiences cinema. A story about a diverse group of individuals collaborating to make art, the film is itself a wonderful example of the process.With the help of the painter Hein Heckroth and the composer Brian Easland, both of whom won Oscars for their work on the film – not to mention Robert Helpmann’s almost Freudian choreography – Michael Powell and Emeric Pressburger combined words and images and music and movement to produce a “total artwork” that illuminates the unconscious as well Read more ...
Graham Fuller
At the centre of Martin Scorsese’s Killers of the Flower Moon, closely adapted from the 2017 non-fiction book by the investigative journalist David Grann, is the true story of how the white former doughboy Ernest Burkhart (Leonardo DiCaprii) was inveigled into slowly poisoning his Native American wife Mollie (Lily Gladstone) for her share of oil wealth in 1920s Oklahoma.At least sixty – possibly hundreds – of Osage were murdered by whites for this reason. Scorsese, with his practiced eye for squalid crime scenes, spiderous psychopaths, and murderous odd-job men, depicts a passel of Read more ...
Adam Sweeting
Rock Hudson was built up as a silver screen archetype of heterosexual manhood, with his 6ft 5in frame and muscular physique, but his story has subsequently come to epitomise a Hollywood system built on illusions and delusions. Supposedly the kind of chiselled hunk every swooning female admirer would like to catch her before she hit the ground, Hudson’s private life was based around his coterie of gay friends and his gay agent, Henry Willson. In this documentary, director Stephen Kijak explores Hudson’s double life with revealing thoroughness, not least through interviews with Hudson’s close Read more ...
Demetrios Matheou
Garth Davis’s Foe is cast from that classic science fiction mould that uses a fantastical premise to explore the commonplace, yet profound aspects of our lives; in this case, the intricacies, dissatisfactions and anxieties of a marriage.At the same time, it offers the sort of unsettling mystery and killer twists that have made the similarly inclined Black Mirror such a success.The time is 2065, with the planet in the grip of a now familiar (and all too likely) environmental catastrophe; in particular, the world is ravaged by drought, with all eyes are on the stars for a new home.Somewhere in Read more ...
Helen Hawkins
When the Oscar-winning documentary-maker Errol Morris sat David Cornwell down before his Interrotron camera in 2019, the first salvo of the chat came, not from the interviewer, but from his subject: “Who are you?” By which Cornwell meant, who does Morris see as the audience for this interview and what are its ambitions? By the end of the film, it will also be clear that Cornwell’s question carried an even weightier payload than that. It was to be the last filmed interview by the author known as John le Carré, conducted over four days the year before he died, at 89. Even fans steeped Read more ...
Nick Hasted
The LFF's Best Film Award winner, Ryusuke Hamaguchi’s Drive My Car follow-up Evil Does Not Exist, is a characteristic mix of extended takes and conversations, limpid beauty and dizzyingly intense dramatic incident, and just one of the festival's major auteur UK premieres.It begins with middle-aged Takumi (Hitoshi Omika) chopping wood in a snowy clearing, and expands into life in his Japanese mountain village, which centres on its pristine river. An ill-considered glamping development threatens to poison the water, a proposal dismantled by the villagers at a consultation meant as a formality. Read more ...
Helen Hawkins
In the current reappraisal of Michael Powell and Emeric Pressburger, what to make of the depiction of women in their key films, that striking tribe of Isoldes with chestnut hair and passionate natures?Powell (1905-90), a man of Kent whose love for his actors was apparently without limits, could be a dictatorial director who, by his own admission, used shock tactics on set to get what he wanted. Whereas Pressburger (1902-88) was a conservative Hungarian who preferred women to be silent partners: “anti-feminist” was Powell’s term for him.Yet between them, and factoring in the upheavals of the Read more ...
Graham Fuller
Announcing “A Michael Powell and Emeric Pressburger production” or, alternatively “A Production of the Archers”, an arrow thuds into the centre of a roundel. Whether in black and white or colour, that famous rubric not only conflates the auras of Robin Hood and the Royal Air Force, but issues a warning you’re about to get a shot in the eye. The critic Ian Christie, one of Powell and Pressburger’s earliest champions, wrote in “Arrows of Desire” (1985), his second book on the great writer-director-producer duo, that the logo (pictured below) was “a promise of ‘real film magic’ for forties Read more ...
graham.rickson
Brannigan begins in arresting fashion, Dominic Frontiere’s funky theme playing over leery close ups of the titular hero’s Colt revolver. Directed by Douglas Hickox and released in 1973, this was the only film starring John Wayne which wasn’t shot in the US.A brief prologue sets up the plot, with ageing maverick Lieutenant Jim Brannigan flying from Chicago to London to extradite gangster Ben Larkin (John Vernon), currently in the care of the Met. But the presence of Mel Ferrer’s slippery lawyer suggests that things won’t go to plan, and Larkin is subsequently kidnapped and held to ransom Read more ...
Demetrios Matheou
Poor Things, Yorgos Lanthimos’s follow-up to The Favourite, is an intoxicating achievement, a ravishing, twisted, very funny and even radical fable that must be a major contender in the awards season that gets into gear as the London Film Festival closes. The Favourite screenwriter Tony McNamara has adapted the late Scottish writer Alasdair Gray’s complex, multi-layered novel, removing the 1990s storyline, focussing on the Victorian section and shifting the point of view entirely to Gray’s fabulous heroine, Bella Baxter (Emma Stone). He’s also removed the Read more ...
Nick Hasted
Martin Scorsese walks onstage to a hero’s welcome, shoulders a little hunched, with a touch of sideways shuffle or hustle, taking acclaim in his stride at 80. He has sold out London’s 2,700-capacity Royal Festival Hall for the BFI’s biggest Screen Talk by far, and the queue for returns stretches into the street, to see a director as big as any star.Fellow director Edgar Wright is here to interview him for 60 minutes about his 27-film career, but barely gets beyond 1980’s Raging Bull in 90. The coked-up motormouth familiar in Scorsese cameos from his backseat rant at Travis Bickle to his Read more ...