Film
Tom Birchenough
What a time of ferment of artistic revolution the 1920s were in the Soviet Union. Pioneering arts techniques overlapped for an all-too-brief period with the progressive ideology of communism. Alexander Dovzhenko’s Arsenal and Zvenigora were at the forefront of such trends, but as a Ukrainian his feelings about Moscow’s new leaps forward were ambiguous. Dovzhenko had a deep visual love for the old order, even while he celebrated the dynamism of the new.Dovzhenko’s 1930 film Earth is widely considered his classic, completing the loose silent “Ukrainian trilogy” that began with Zvenigora in Read more ...
james.woodall
Another 400 films, another rush for seats, another biting wind from Vladivostock: the 61st Berlin Film Festival - the Berlinale - has packed ’em in in the centre of town at Potsdamer Platz (mainly) over the last 10 days and hoped to light up the inevitably gloomy middle of February, and almost succeeded. But boy were there some tedious competition films this year.2011's Golden Bear Jodaieye Nader az Simin ("Nader and Simin: A Separation", the lead actors Leila Hatami and Peyman Moadi pictured below) was a hot contender from the moment the Iranian film hit Berlin. Director Jafar Panahi, Read more ...
Jasper Rees
In some ways it’s been an odd career. Everyone else in Another Country (1982), the stage play by Julian Mitchell about gays and Marxists in a 1930s English public school, shot out of the blocks. Colin Firth was the only actor to play both lead parts, one onstage, the other on film (1984), but he took the slower road to outright stardom and only now is he clearly the bigger cheese than Rupert Everett, Kenneth Branagh and possibly even Daniel Day-Lewis. For years as a young actor he laboured somewhat in their shadow. He was in a film adaptation of Laclos's Les Liaisons Dangéreuses, but not the Read more ...
Jasper Rees
In films featuring computer whizzes, there is always a key scene in which, to illustrate the whizziness, a star actor bashes on a keyboard at implausible warp speed. The Social Network is the first major film to respond to the drama inherent in the internet boom. (What’s next? Google in China: the movie? Tehran: the Twitter Revolution?) But it’s one of The Social Network's unremarked attractions that a movie starring computers has no truck with fetishising geekery.As the cast and writer Aaron Sorkin bend over backwards to explain in the DVD extras, this is not a film about Facebook. It Read more ...
josh.spero
Inside Inside Job is an interesting film struggling to get out. Sadly, one has to sit through two hours of Financial Meltdown 101 to see it. Narrated by Matt Damon in his serious voice (and if you're anything like me, you'll always be thinking of his Team America caricature), the film starts with the perfect glaciers of Iceland being ravaged as the free market takes its toll. The financial engineering that brought its banks down is exposed, and it's cut to a rock song overlaying swooning shots of New York that would not be out of place in Sex and the City.These first five minutes tell us Read more ...
emma.simmonds
Based on a novel by Kanae Minato, Tetsuya Nakashima’s provocative, serenely sinister thriller is fuelled by the murderous desire of its teens and the righteous anger of their teacher. Best known for the inebriated mania of Kamikaze Girls and Memories of Matsuko, in Confessions Nakashima trades his outrageous rainbow hues for a distinctly funereal aesthetic. It’s as if a dark veil has been drawn across his signature style, with the film bowed in sombre recognition of its troubling subject matter.Confessions opens on familiar scenes of unruly schoolchildren, in this case Class B, who are all Read more ...
Veronica Lee
Sylvain Chomet’s hand-drawn animation of a previously unproduced Jacques Tati story is a delight in every way, in which the French film-maker pays homage to the great man by making him the illusionist of the title. He is unmistakably Tati - all elbows and angles, and, of course, distinctive bottom and nose.Seeing his work drying up as the incipient youth culture is taking over theatres and music halls, the illusionist leaves France (Chomet’s change to the original story) and accepts a gig in a tiny Scottish town, where he meets a star-struck young girl who follows the magician to Edinburgh, Read more ...
Veronica Lee
Simon Pegg and Nick Frost have come a long way from Spaced, the Channel 4 sitcom Pegg created with Jessica Hynes (then Stevenson). When it was canned after two series in 1999 and 2001, Spaced - a very funny and edgy comedy about a group of assorted idlers and oddballs - assumed cult status; now More4 are unashamedly cashing in on Pegg and Frost’s Hollywood debut, PAUL, by repeating Spaced on Sunday nights, which is good news all round.PAUL is Pegg and Frost’s third movie collaboration after Shaun of the Dead and Hot Fuzz, both entertaining, feel-good bromances that spoofed zombie movies and Read more ...
Jasper Rees
@Wossy seems to have been cast as second baddie in #PiratesduCaribbean 4This intro is entirely about namechecking the films so they can cut away to the US stars who've jetted in from #TinseltownLame string of Little Fockers jokes.These clips montages always make films look like the complete Shakespeare. Then you go and see them...@Wossy seems to have been cast as second baddie in #PiratesduCaribbean 4This intro is entirely about namechecking the films so they can cut away to the US stars who've jetted in from #TinseltownLame string of Little Fockers jokes.These clips montages always make Read more ...
David Nice
Metcentric New Yorkers tend to think an opera hasn’t achieved classic status until it arrives at their vast inner sanctum. Whereas other cities worldwide know that the inimitable Peter Sellars production of grand opera’s last masterpiece (to date) has become a virtual brand since its 1987 Houston premiere. John Adams's first, and biggest, opera was an obvious here-to-stay triumph at the Edinburgh Festival the following year, and its strengths become more apparent with the passing of time. What we celebrated last night was the way this hallucinatory musical meditation around 1972's East-meets- Read more ...
alexandra.coghlan
“The problem is that you’ve been told and not told.” While Ishiguro and his discerning fans would never indulge in anything so crass as hype, there have been whisperings in North London wine bars, over the coffee-morning brews of Home Counties ladies, on terraces of rented villas on the Amalfi Coast. Yes, Never Let Me Go is the one about human cloning, whose characters are living organ farms, existing solely for harvest. It is neither a twist nor a secret (and to treat it as such is to misunderstand Ishiguro’s withholding narrative), so when director Mark Romanek lays it out on the (operating Read more ...
Jasper Rees
We’ve heard a lot about the American experience of Iraq: the internecine politicking in Green Zone, the deadly combat of The Hurt Locker, the tedium of camp life in Jarhead. In the cinematic reproduction of tumult in Iraq, one thing you never see a lot of is Iraqis. They are walk-on players in their own land, exiled to the margins of a national narrative which is all about high-tech kit and the travails of the liberators. The winners get to shape the way the story is told. "You won the world!” an Iraqi driver screams at a helicopter puttering overhead in Baghdad in Son of Babylon. Well, they Read more ...