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.
★★★★☆ Among the most popular and iconic toys in the world, since its 1959 inception, the Barbie doll has delighted children while embodying unrealistic beauty standards for women. Is Barbie a sexist stereotype or neo-feminist icon? Erstwhile indie director Greta Gerwig and co-writer Noah Baumbach asks, why not both?
★★★★☆ Christopher Nolan directs his first biopic, depicting the scientist who developed the atomic bombs that would devastate and the cities of Hiroshima and Nagasaki and bring an end to the Second World War. The British director’s twelfth feature is a fascinating and accomplished cinematic object, but as a study of greatness, Oppenheimer’s subject is often obscured by its author’s auteurist preoccupations.
★★★★☆ Deep under the ice of the Bering Strait, a tactical exercise on a Russian submarine goes badly wrong. As the bodies of the doomed sub float to the surface, something sinister is hidden inside its hull. The first of a two-parter, Christopher McQuarrie helms the seventh episode of the era’s premier action series.
There are few better ways to spend the first weekend of July than roaming between the picturesque pastel-coloured buildings of Karlovy Vary in the Czech Republic, sipping a glass of Becherovka and revelling in the vibrant energy and summery glamour of KVIFF. This year, Russell Crowe was in attendance, opening the festival with a performance by his band Indoor Garden Party.
★★★★☆ The British-Moroccan director of Lynn + Lucy, Fyzal Boulifa, returns to screens with this deeply moving tale of a mother and son living on the margins of society. Sharing its name with a 1950 Joan Crawford film, The Damned Don’t Cry has thematic resonance with its namesake as a study of women’s vulnerability in a patriarchal society and the criminalising of marginalised lives.
★★★☆☆ It’s 1969 and time has finally caught up with Indiana Jones. When he’s not napping in a bourbon-induced fug, he’s boring his students to sleep, counting down the hours to retirement. It seems that the days of the once legendary archaeologist’s adventures are behind him, until the daughter of an old friend arrives to drag the old man into one final hurrah.
★★☆☆☆ Following up his 2019 directorial debut Mallesham, Hyderabad-based director Raj Rachakonda returns to screens with a romantic drama that draws heavy inspiration from Brief Encounter, Ritesh Batra’s The Lunchbox, and the Before Trilogy. 8 A.M. Metro is a sweet but ultimately shallow film whose final act ultimately finds depth and dimension too late to redeem its prior narrative shortcomings.
★★★☆☆ One of the most unmistakable filmmakers currently working, Wes Anderson is the go-to stylist for A.I.-generated parodies. His distinctive colour palettes, flat, lateral camera moves, diorama scene design and starry deadpan performances of witticism clipped from The New Yorker mean that most can pre-visualise his films before they even buy a ticket.
