Popular Reviews
The Liability
Starting great but ending merely good, this British thriller full of deadpan laughs is sexy, nasty and features two great actors, Tim Roth and Peter Mullan. It even boasts a starmaking performance by Jack O’Connell as The Liability. The genre is announced before the opening credits, as a man in a car parked somewhere bleak but lit with the rainbow palette of an acolyte of Christopher Doyle is gruesomely garrotted from the rear passenger seat by someone we never see. Except it isn’t. The genre we thought it was, I mean. Cut to Adam (Jack O’Connell) a total dipstick who has borrowed his mum’s boyfriend’s C Class Mercedes and is razzing it up … Read more
Decision to Leave
A cop falls disastrously for the woman he is certain killed her own husband in Park Chan-wook’s first film since 2016’s The Handmaiden. Decision to Leave is an erotic noir mixing elements of the “useless cops” comedy of Bong Joon-ho’s Memories of Murder with the romantic obsession of Wong Kar-wai’s Chungking Express and adding byzantine, gothic plotting that’s all Park’s own. It wouldn’t work as well as it does without the presence of Tang Wei, playing a femme fatale of a noirish stripe – slinky, possibly dangerous, magnetically attractive – and the grieving widow of a much older husband who’s died in a bizarre rock climbing accident. Is Seo-rae grieving enough though? Or even … Read more
Ghostbusters: Afterlife
There’s nothing wrong with Ghostbusters: Afterlife at all, apart from its strange reluctance to reference Ghostbusters, the 2016 reboot directed by Paul Feig. The one that exercised a lot of bedwetters with its “controversial” cast with a lot of women in it. It wasn’t very good, but not because it starred Kristen Wiig, Melissa McCarthy, Patty Tolan and Kate McKinnon. It just wasn’t funny or scary. They never are, scary I mean, the Ghostbusters films. That’s not really the point. The idea is to deliver lots of likeable knockabout camaraderie and good vibes, which is what Afterlife does, liberally scattering easter eggs referring back to one of the original two movies, but not … Read more
13 Going On 30
A movie for every day of the year – a good one 30 November Thriller released, 1982 On this day in 1982, Michael Jackson’s album Thriller was released. As I write, it is the biggest selling album of all time. And with unified collections of music now a “take it or leave it” item displaced by technology it is likely to remain so. Thriller has sold around 60 million copies worldwide (estimate) and continues to sell. It was Jackson’s sixth solo album, his second as a mature artist in charge of his career, and because Jackson had renegotiated his royalty rate with his record company only the year before (after the success of … Read more
Compartment Number 6
Compartment Number 6 has been described as a Finnish Before Sunrise but in fact it’s closer to It Happened One Night minus the jokes, since it’s a story about two people who really don’t get along suddenly finding they do get along, sort of. At the risk of banging on about a different subject for too long, Before Sunrise was Ethan Hawke and Julie Delpy – two gorgeous, similarly minded and largely footloose people – on a train together and it was less a case of will they/won’t they and more a nailed-on certainty that something was going to happen between them, if only they’d get a move on. Here, we’re more in Clark … Read more
Night at the Museum
One of Disney’s old standbys is the perky live-action comedy, of the sort they used to put out on the 1960s, invariably starring Dean Jones and a gaggle of pesky kids, plus a cute animal or two. These movies were zippy and had a gee-whizz wholesomeness that was easy to mock but hard to hate. Night at the Museum drills right into that vein, and even gives a small part to Dick Van Dyke, king of Disney’s live-action magnum opus, Mary Poppins. But he’s not the star. Instead there’s an appropriately bumbling Ben Stiller fitting right into the Van Dyke mould, as the hapless, hopeless dad who takes a job at a Museum … Read more
Late Spring
Late Spring is the title and late spring is the condition of its central character, a woman who, at the advanced age of 27, is almost too old for marriage – she’s in the late spring of her adult life. It’s 1949 and in Japan the American occupiers are running the show after the end of the Second World War. 27-year-old Noriko is the smiling, gracious, pretty and dutiful daughter of kindly widower Shukichi (Chishû Ryû). As far as he’s concerned she’s perfect in every way except one – she really doesn’t want to marry. When Noriko meets one of her father’s old colleagues, a man who has recently remarried, she tells him that … Read more
Malignant
One word titles suggesting ugginess are a bit of a specialty for James Wan – Saw, Insidious and now Malignant, a never frightening but entirely entertaining tour of the all-you-can-eat horror buffet. The writer/producer/director piles on a whole load of stuff, then a bit more, and then more still. If nothing else, you have to admire the size of his plate. It all starts pre-credits with one of those sequences set inside some murky clinical facility where a medical team are trying to subdue someone or thing and finding themselves up against it. The thing, or whatever it is, seems to be “drinking electricity”. Hold on to that thought – and then later … Read more
May
May is a disturbing film full of weirdos but almost none of them is the real deal, apart from the central character of May herself. In a world where people play-act at being strange to make themselves seem interesting, May is properly odd. Lucky McKee’s solo debut came out in 2002, to a little acclaim, but has become a cult over the years, loved by people who admire its aslant world view, its focus on its lead character and its position on pseuds who make false claims on weirdness. May was born with a lazy eye and has been brought up cosseted by her mother. She grew up – or rather didn’t grow … Read more
Food, Inc. 2
Food, Inc. 2, it won’t surprise anyone to hear, is the follow-up to Food, Inc., the 2008 documentary which usefully summarised what you might call the anti-Big Food position. Bad, in a word. Food, Inc. 2 doesn’t have much that’s positive to say in this update, not at first anyway. It also starts with an opening premise that seems to be contradicted by facts – that the production of food is in so few hands that the supply chain isn’t secure. It then points to the Covid pandemic when… er… I don’t remember hearing stories of food running out. Panic buying, yes. Kinks in the supply chain, yes. More than that – not so … Read more
Dancer in the Dark
Is it “Unique” (CNN), “Heartbreaking” (The Independent), “Riveting” (Radio Times)? Or, perhaps, “Ludicrous” (Daily Mail), “Numbing” (Salon.com) or “Grim” (TV Guide)? Lars Von Trier’s low-rent, grainy tale of the Czech immigrant in the USA who is losing her sight, made according to the minimalist Dogme manifesto, won the Palme D’Or at the 2000 Cannes film festival. And even there fighting almost broke out in the audience. What got everyone’s goat was Von Trier’s decision to couple his muddy shakeycam style to the most velour of Hollywood genres – the musical – and to cast the coolest of Euro sophisticats, Catherine Deneuve, as a factory worker. Adding to this deliberate provocation is the singing … Read more
Last Woman on Earth
Chinatown is what the writer Robert Towne will be remembered for, rather than Last Woman on Earth, a cheap and short B movie cranked out by one-man movie-making machine Roger Corman in 1960. But it’s worth a look, not just because it was Towne’s first screenplay but also because he acts in it, under the alias Edward Wain. The screenplay is credited to Towne, though, which says a lot about where his priorities lie. Corman and Towne open the action at a cock fight in Puerto Rico, where rich but dodgy businessman Harold Gern and bored trophy wife Evelyn meet Harold’s accountant, Martin Joyce (Towne). While the men chat, Corman’s camera lingers on … Read more
