Popular Reviews
Flee
Towards the end of 2021 Flee found itself in the curious position of being eligible for Oscar nomination in three different categories. Which way to jump? It eventually submitted itself as a contender in the Best International Feature category. Best Animated Feature was also an option. As was Best Documentary – though spotting that Summer of Soul was in that category would make anyone think twice. Flee ticks all three boxes because it is a documentary telling the true story of a young man called Amin and his long and perilous flight from wartorn Afghanistan up to the moment, where he is about to marry his partner, Kaspar. It’s from Denmark (box two) … Read more
Nothing Personal
Working my way in no logical order through the films of the under-rated Urszula Antoniak, I come to her first feature, 2009’s Nothing Personal. And it’s nearly all here – the female focus, the quiet way of working, the absence of unnecessary detail, mood rather than plot being her primary concern, and great performances just to top it all off. What isn’t quite here is Antoniak’s sudden ta-daa moment, the moment in Code Blue (2011) or Magic Mountains (2020) when she suddenly racks all the knobs to the max, to shocking effect. It could be, of course, that those films are atypical. There are another three films, at the time of writing, to … Read more
Mummies
“It’s for kids, innit?” a guy muttered to me as we came out of the screening for Mummies. He didn’t say it like it was a good thing, summing up in a shrug the slightly throwaway nature of this Spanish animation redubbed into English. I have no idea how good the original voice cast were, but Joe Thomas (of the TV show Inbetweeners), Eleanor Tomlinson (Poldark) and Hugh Bonneville (everywhere all at once right now but best known for Downton Abbey) are excellent as the English-language replacements. Thomas voices Thut, the Ancient Egyptian charioteer who used to be a champion but now has post-chariot-stress-disorder, and Tomlinson is Princess Nefer, the daughter of Pharaoh … Read more
The Avengers: Series 6, Episode 28 – My Wildest Dream
Though broadcast towards the end of the Tara King era, My Wildest Dream was made towards the beginning. It marks the point where Brian Clemens and Albert Fennell had fully taken back control of the series from John Bryce and were able to start banging out episodes that were theirs through and through, rather than rehashes/cut-and-shuts of stuff Bryce had finished or half-finished. This was the first of that bunch. It looks, perhaps no surprise, like an Emma Peel-era episode. Defiantly so, in fact – big bold colours, wide, empty sets, a pop-art influence. The dialogue is more Peel-era too – rat-a-tat-tat, knowing and smart. The story is by Philip Levene and has … Read more
The Painted Bird
A screen adaptation of Polish-born Jerzy Kosiński’s novel The Painted Bird probably should have been made before 2019. “Of all the remarkable fiction that emerged from World War II, nothing stands higher than Jerzy Kosiński’s The Painted Bird,” wrote Jonathan Yardley in The Miami Herald in a typical rave when the book first appeared in 1965. When it turned out that the book wasn’t based on Kosiński’s own personal experiences, as he had claimed, and that he’d pulled off a remarkable literary hoax, sentiment reversed sharply. Decades later there were claims that other books by Kosiński – like Being There (which was turned into a 1979 film starring Peter Sellers) – were largely … Read more
An American Pickle
American Pickle is unsure whether it’s fighting the culture war or fighting it off – a proper pickle It’s amusing, likeable, good-natured and I really wanted to like it, but American Pickle really is all over the place. Basics first: Seth Rogen is the East European from some Yiddish-speaking stetl who, after the Cossacks kill everyone in his village in a pogrom, heads to the US with his wife and love of his life (Sarah Snook, soon dead, before you get too excited). There, Herschel gets a job, falls into a vat in a pickle factory, wakes up a century later, the brine having somehow magically preserved him, and heads out into modern New … Read more
Herself
Phyllida Lloyd is most often described as the director of Mama Mia! but there’s a lot more to her than that. Take Herself, the latest in a line of strongly female-centred productions, including the Mrs Thatcher biopic The Iron Lady and the all-female Shakespeare productions of Julius Caesar, Henry IV and The Tempest at the Donmar Theatre in London, which drew raves from the critics, wild applause from audiences and loud harrumphs from the gammons. The Shakespeares all gave top billing to Harriet Walter, and meaty roles to Clare Dunne. Here, Dunne is thrust into the lead (well, she did co-write) and Walter is a gracious supporting star in a story about one … Read more
