Film Reviews & More
★★★★☆ The ‘multiverse’ is one of the worst concepts to enter storytelling since Victoria Principal woke up in Dallas and discovered it had all been a dream. And so it’s weird to find yourself in a universe where the concept finally gets a decent cinematic treatment in Timm Kröger’s The Theory of Everything, not to be confused with Eddie Redmayne’s black hole.
The head of this year’s Venice jury Julianne Moore awarded the festival’s top prize, the Golden Lion, to Laura Poitras’ All the Beauty and the Bloodshed, her profile of artist Nan Goldin and her campaign against the Sackler family. It’s a brilliant, committed piece of activist cinema.
In what has to be one of the crazier award ceremonies to grace the Venice Lido on its 76th edition, Todd Phillips’ Joker took home this year’s Golden Lion in a move guaranteed to provoke a flood of hot takes, an avalanche of think pieces and further lubrication for Oscars season.
★★★★☆ Suzhou River director Lou Ye’s wartime espionage thriller Saturday Fiction starts as a mysterious murky mess and resolves itself into a bullet-riddled noir. We first meet Jean Yu (Gong Li) in Shanghai circa 1937 as she is rehearsing a play with director/lead actor Tan Na (Mark Chao).
★★★★☆ Tiago Guedes’ latest offering The Domain dissects a wealthy Portuguese family in the second half of the 20th century as a libertarian young patriarch struggles with duty, family, politics and his own personal destructive freedom.
★★★☆☆ “All hail the king,” proclaim the posters dotted around the Venice Lido. The story of Henry V gets a revisionist, Netflix-backed interpretation from Animal Kingdom director David Michôd as a floppy-haired Timothée Chalamet goes boldly into the breach once more in Venice out-of-competition offering The King.
★★★☆☆ Do you remember when Steven Soderbergh retired from filmmaking? That was approximately five films and two television series ago. There’s a looseness to his new Netflix-bound Panama Papers takedown The Laundromat that, for both better or worse, smacks of an OAP not giving a tinker’s cuss.
★★★☆☆ Ema (Mariana Di Girólamo) is a young dancer with a Daenerys Targaryen bleach job and a love of Reggaeton. She’s also a bit of a pyromaniac. The first shot we see in Pablo Larraín’s new film Ema is of a stoplight burning, set on fire by Ema with her flamethrower.
★★★☆☆ The Dreyfus Affair is chronicled as a turn of the century espionage thriller worthy of le Carré in Roman Polanski’s An Officer and a Spy. There was a good chance that his film could have been withdrawn after the jury head Lucrecia Martel shared her dissatisfaction at the film being included in the competition.
As the 76th edition of Venice commenced this week, the oldest film festival in the world has entered some choppy waters. First of all,...
The winner of last year’s Golden Lion for The Shape of Water, Guillermo Del Toro joked “Let me see if I can pronounce this,”...
