Film Reviews & More
★★☆☆☆ “An old, mad, blind, despised, and dying king,” Percy Shelley once wrote in his sonnet England in 1819. He was firing his barbs at King George III but the words could just as well be used for any number of English monarchs including Henry VIII.
★★★★★ Turkish master director Nuri Bilge Ceylan returns to the Cannes Croisette with About Dry Grasses, a wonderful wintry meditation on male fragility and the way we often make our own hells and then deceive ourselves that we’re trapped.
★★★★☆ From sub-Saharan Africa to Afghanistan, Syria to Iraq and Iran, the climate crisis, drought, war, and oppression has created a humanitarian crisis of epic proportions. It is treated as an ethical conundrum, but it isn’t. Either we wish to save those who are in danger of dying, or all our talk of human rights is just so much hot air. This is the core concern of Green Border.
★★★★☆ With Luca Guadagnino’s terrific Challengers, the acclaimed director of Call Me By Your Name brings us the sub-genre we never knew we needed: the erotic tennis thriller.
★★☆☆☆ Directors Bettinelli-Olpin and Gillett’s “Abigail” mashes up crime caper and monster movie, but fails to deliver fear or humor. Spoilery trailers and unoriginal characters overshadow promising elements, resulting in a dull, lifeless experience lacking creativity and wit.
★★☆☆☆ Maïwenn’s French period drama Jeanne du Barry is the perfect opening salvo for the 76th Cannes Film Festival. It is as glitzy and gaudy as the festival itself, with its vacuous politics drowned out by the thunderous sound of it slapping its own back.
★★★☆☆ Her first film as director since 2017’s heady study of adolescence, Ava, Léa Mysius’ latest is an oft-gripping magical-realist mystery drama with faint whiffs of horror. While The Five Devils doesn’t quite have the clarity of vision of her previous picture, its emotion, erotically-charged themes and puzzle-box structure leave much to recommend.
★★★☆☆ It’s 1918, and the elderly woman that terrorised the screaming youths of X is still a tender young thing, stuck on her parents’ farm and dreaming of a life of stardom in faraway Hollywood. How far removed from that wizened psychotic killer this cherubic vision now stands.
★★★★☆ There is tragedy and there is comedy, but the hinterland has never really received a proper definition. Melodrama suggests histrionics and musical accompaniment milking the emotional teat. Drama is too broad. And anyone who suggests “dramedy” should be punished. It would be “dramedic”.
The winners of this year’s 95th Academy Awards were announced earlier this morning at LA’s Dolby Theatre. The Daniels’ Everything Everywhere All at Once was the big winner on the night, scooping seven Oscars in total including Best Picture, Best Director and Best Actress for Michelle Yeoh.
More than twelve months after “the slap”, the 95th Academy Awards are almost upon us. The recent success of Parasite and Drive My Car appears to have opened the door for more international features to break through into the main categories, with Netflix’s All Quiet on the Western Front up for Best Picture, Best Director and seven further categories.
★★★★☆ One year on from the events of the previous franchise entry, Ghostface is up to their old tricks again, slicing and dicing their way through a new batch of shrieking victims, the action now shifted to New York. With the new generation of Screamers now firmly installed, headed by the Carpenter sisters, can the ghost(face)s of the past be laid to rest?
★★★☆☆ His heavyweight champion status secured, the now-retired Adonis Creed (Michael B. Jordan) spends his days lounging around his Hollywood mansion, having tea parties with daughter Amara (Mila Davis-Kent) and running his gym with coach Little Duke (Wood Harris). But when a long-forgotten figure from Adonis’ past returns, his future is thrown into question.
There is much debate about what characterises an independent film, but, in general, it is a work without interference from major studios, from pre-production to production itself. In this sense, an independent film is not made without money – this is, in short, a characteristic of guerrilla cinema –but one in which the team runs after funding, and there is no industry investing in its making.
