Film
Demetrios Matheou
The last time George Clooney was in a space movie, Gravity, he and Sandra Bullock were marooned above Earth and desperate to get home. The Midnight Sky has the opposite dynamic: here Clooney is Earthbound, urgently trying to warn incomers to stay the hell away. As science-fiction premises go, it feels rather apt. With Clooney both sides of the camera, the film itself alternates between the Arctic and deep space, human drama and special effects spectacle, a certain novelty but with doses of sci-fi cliché. It’s quietly proficient rather than awe-inspiring, yet Read more ...
Matt Wolf
Four Broadway denizens resolve to change the world "one lesbian at a time" in the cheerful if often cheesy The Prom, the film adaptation of a recent Broadway musical that continually reminds you of at least a half-dozen similar titles, almost all of which are better (Hairspray, to name but one). That the film is nonetheless entertaining enough is due to material that wears a generous heart on its sleeve and that wants to reach across the aisle, so to speak, to temper bigotry and small-mindedness with dollops of acceptance and a jazz hand or two.Insofar as the film often feels like a none-too- Read more ...
Owen Richards
Frank Marshall might not be the biggest household name, but his footprint on Hollywood is unrivalled. He has produced hits ranging from Indiana Jones and Back to the Future to Jason Bourne and Jurassic World. He also takes occasional forays into directing, such as the madcap Arachnophobia and cannibalistic rugby tale Alive. Who better then to chart the career of The Bee Gees, a band far more influential than ever given credit for?How Can You Mend a Broken Heart is a top-tier music documentary, filled with world tours, lost demos and family drama. Marshall expertly balances the band's history Read more ...
graham.rickson
Misdirection is at the heart of Le Cercle Rouge. The Buddhist quote that opens Jean-Pierre Melville’s 1970 thriller – "when men, even unknowingly, are to meet one day… they will inevitably come together in the red circle” – is fake, written by the director, whose entire career was spent working under a pseudonym. The casting of André Bourvil as Inspector Mattei would have wrongfooted contemporary French audiences, used to seeing the actor in light comedies. Then there’s the celebrated heist sequence, dialogue-free and playing out in real time, the outcome of which may surprise.We first Read more ...
Demetrios Matheou
The big talking points of Martin Scorsese’s lauded return to the gangster genre, 2019’s The Irishman, were his reunion after 25 years with Robert De Niro and Joe Pesci, and the state-of the-art “de-aging” process that enabled that pair and Al Pacino to play their characters over a period of 30 years. Just as significant as these factors, however, was the new thematic dimension and depth that Scorsese and his collaborators brought to the genre – the perspective of time, the poignancy that comes with the realisation that even killers grow old, become regretful, suffer the effects of Read more ...
Adam Sweeting
Lockdowns must be good for something, right? British writer-director Rob Savage (a 2013 Screen International Star of Tomorrow, factoid fans) has made the most of the unwelcome imposition of our first national incarceration by creating a Zoom-powered horror movie, in which a group of six friends gather around their phones and laptops to stage an internet-powered seance.Previous films such as Unfriended and Searching have deployed computer screens to tell their story, but the idea of using Zoom adds a different dimension, and Savage has cannily exploited the parameters of the setup. The various Read more ...
Markie Robson-Scott
“California is for cocksuckers and flag-burners. Did they know you were a fag in the army?” Willis (Lance Henriksen; best known as Bishop in Alien) asks his son John (Viggo Mortensen), now living in LA with his husband Eric and their adopted daughter Monica.And that’s one of Willis’s more restrained outbursts. He’s tipping over the edge into enraged, foul-mouthed dementia. Yet somehow his son, a mild-mannered pilot (he was in the air force, not the army, as he reminds his dad) who’s trying to get him to move from his isolated farm in the snowy northeast, is a model of kindness and patience – Read more ...
Adam Sweeting
This debut feature by writer/director Henry Blake is a shocking and remarkably assured drama about the “county lines” trade, where children are used as drug traffickers. Using mobile phones, city-based drug dealers employ kids to ferry their product to rural areas or small towns, in this case Canvey Island and the Thames estuary.Blake was inspired to make the film by his experiences as a youth worker in east London, working at a Pupil Referral Unit for problem children excluded from regular schools. He has assembled an impressive cast of young up-and-coming actors, with Conrad Khan (pictured Read more ...
Demetrios Matheou
For so much of the year, Tenet was cited as the film that was going to save cinema – the tentpole extravaganza that would draw virus-conscious punters back to the big screen. The assertion was always fanciful, the pandemic being too long a haul; with no disrespect to Christopher Nolan, the fanfare around his latest spoke more of industry desperation than reality.Meanwhile, along comes Mank, David Fincher’s account of the controversial genesis of Orson Welles’ landmark Citizen Kane, oft-cited as the greatest film ever made. It stars Gary Oldman as Herman Mankiewicz, the Read more ...
Graham Fuller
It was around the time of the 14th century Black Death that the word “corruption” – from the Latin corruptus, the past participle of corrumpere, “to mar, bribe, destroy” – was first associated with putrefaction. Moral corruption becomes inextricably entwined with fleshly decay in a cellphone video image of a dying hospital patient taken by a whistleblower that Alexander Nanau incorporated in his documentary Collective, which reveals the extent to which Romania’s state health system had become riddled with bribery by the mid 2010s.The male patient was attending the metalcore band Goodbye to Read more ...
Daniel Baksi
In his exclusive half-hour-plus interview for distributor Second Run, the affable Tsai Ming-Liang makes a striking admission: “I make very uncommercial films.” Viewers of the extra will most likely have just finished Goodbye, Dragon Inn (Bú sàn) (2003), Ming-liang’s feature-length exploration of precisely everything that comes of those pesky “uncommercial films”. That is, a decrepit, old picture-house on the outskirts of Taipei, hosting its last ever screening – of King Hu's 1967 sword-fighting classic Dragon Inn – complete, or incomplete, with leaky ceilings, and a thoroughly Read more ...
Saskia Baron
The BFI has done an excellent job of giving La Haine the 4k restoration treatment under the vigilant eye of the film’s cinematographer, Pierre Aïm. From the opening image of planet earth being torched by a slo-mo Molotov cocktail to the shocking final moments, this is a stunningly handsome film. It’s hard to believe Matthieu Kassovitz’s blistering tale of three young men fired up by police brutality is now 25 years old as the film has lost none of its incendiary energy and style.Kassovitz sets the scene with an archive montage of the 1993 riots that broke out in Paris after the Read more ...