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Popular Reviews

WL Mackenzie King sniffs a boot

The Twentieth Century

Where to begin with The Twentieth Century, a mad bit of nonsense that’s initially exasperating but eventually works so hard at what it’s doing that your resistance might start to crumble. We’re in the realm of the camp pastiche right from the opening colorized 1930s-style credits. Those dispensed with, the movies settles down to tell the story of WL Mackenzie King, Canada’s most celebrated prime minister – three terms of office from the early 1920s to late 1940s. Forget those details lifted from WLMK’s Wikipedia page. They’re only confusing. If there’s any basis of fact at all in writer/director Matthew Rankin’s film, it’s been so decorated with chintz, frills and flounces that it’s … Read more
Vin Diesel and John Cena face off

Fast and Furious 9

Call it what you like, Fast & Furious 9 – or F9, or F9: The Fast Saga – is no good, a terrible disappointment in a franchise that in a 20-year run has managed to be one of the most reliable suppliers of screen fun, banter and action. However, F&F has proved to be totally bombproof thus far, having survived the permanent loss of franchise mainstays (Paul Walker), temporary absences (Vin Diesel, Michelle Rodriguez, Jordana Brewster), a reverse takeover by Dwayne Johnson and Jason Statham (who have now been shunted off to their own spinoff, the Hobbs & Shaw franchise). It even survived the loss of director Justin Lin, who picked up the … Read more
James Franco and Seth Rogen in The Interview

The Interview

Like an Inspector Clouseau party that’s forgotten to invite Peter Sellers, The Interview has a gigantic gaping hole where the comedy should be. Unsure if it’s a satire on modern entertainment or a Get Smart-style caper comedy set in the People’s Republic of North Korea, it squats uneasily between the two, leaving its game bromantic stars, James Franco and Seth Rogen, mouthing like beached fish in one unfunny set-up after another. The film arrives after the most brilliantly organised bit of internet brouhaha since The Blair Witch Project. First, Sony’s servers were hacked by the North Koreans, angry at the prospect of a film about an assassination attempt on the Dear Leader. The film … Read more
Naru with a black stripe across her eyes

Prey

Prey refreshes the Predator franchise in ways that are predictable, unpredictable and surprising. All in all, it’s the best non-Schwarzenegger outing of the lot (which makes it number two of five overall, or seven if we’re including the Alien vs Predator spin-offs). An alien spaceship lands on the Great North Plains in 1719. On board is the mostly heat-seeking, mostly invisible, mostly lethal warrior/creature we’ve met before and outside are a band of Comanches going about their daily lives. One of their number, Naru (Amber Midthunder), almost instantly is on to the fact that the evil has landed, and over the swift, pacey 100 minutes that follow it’s Naru and her dog who … Read more
Opening shot: the family meets

Farewell Amor

Think of how many films there have been about the Irish immigrant experience in the USA. Or the Italian. Farewell Amor is a real rarity, because it’s looks at that fraught, hopeful new beginning through African eyes. Walter (Ntare Guma Mbaho Mwine) is a refugee from Angola who went through the civil war there and is now living in New York, where he drives a cab. He’s been separated from his family for 17 years, but is now finally reunited with them. In fact that’s the first scene of Ekwa Msangi’s film: Walter, his wife Esther (Zainab Jah) and teenage daughter Sylvia (Jayme Lawson) meeting at JFK airport. The look on Sylvia’s face … Read more
A high priestess

On the Silver Globe

Ready for one of the strangest sci-fi movies ever made? On the Silver Globe (Na srebrnym globie in the original Polish) is as powerful as it is incomprehensible, as if David Lynch’s Dune had been put in a bag and tossed around with Game of Thrones, Tolkien, Tarkovsky and Mad Max. The story behind it is interesting too. It was mostly shot in 1976 by the brilliant Polish director Andrzej Zulawski, but production was closed down by the Communist censor, who feared the film was wandering into off-limits territory. The sets and costumes were destroyed, and so were all prints of the film. Or so the authorities thought. In fact Zulawski managed to … Read more
Brenton Thwaites in The Signal

The Signal

Well, I loved this. A confident exercise in genre and genre misdirection that has the balls to invoke The Matrix, Close Encounters, and Vincenzo Natali’s Cube. So, yes, it’s about aliens and a gigantic conspiracy and there’s a lot of white light bathing its clinical setups, and it cost not very much at all. And the first bit of misdirection comes at the very first shot – a boy, a girl, his buddy, dappled sunlight, a piano on the soundtrack. It looks like we’re in torridly romantic Nicholas Sparks territory and we can only be minutes away from someone coming down with a terminal disease, especially as Nic, our lead, is on crutches, as … Read more
The "let's roll" moment from United 93

United 93

A reconstruction of what happened on 11 September 2001 to the fourth hijacked plane, which went down in Pennsylvania before getting to its target in Washington DC, probably the White House. It’s shot in a documentary-like shaky-cam style, has not a single recognisable face to hook onto and there’s a complete absence of heroic Hollywood dialogue. Writer/director Paul Greengrass lets events unfold in real time which, coupled with the knowledge of how things pan out, has the effect of making every otherwise mundane detail – stewardesses sharing a joke, businessmen working on their laptops – unbearably poignant. As we have already seen in The Bourne Supremacy, Greengrass is a master of dramatic irony … Read more
Close up of Cagney as a gun-wielding Cody Jarrett

White Heat

1949’s White Heat features one of the most famous screen criminals, in one of the most famous gangster movies ever made. But was Arthur “Cody” Jarrett, the character James Cagney plays, sexually off the straight and narrow? A mother-loving gang leader prone to swooning headaches who can’t satisfy his wife – whatever else Cody is, he’s a strange kind of protagonist. But then this is the 1940s and Cody’s not meant to be likeable. This is the story of a smart but crazy criminal who, in the film’s opening scenes, murders four men as part of a raid on a train and then, as the law starts circling, admits to a lesser crime … Read more
Charles Dobbs on the phone

The Deadly Affair

1966’s The Deadly Affair repeats the formula of The Spy Who Came In from the Cold – John Le Carré story, top British and European cast, London locations, great US director, ace British cinematographer, soundtrack by a big name – and if it isn’t quite up there with the 1965 film, it’s still one of the very best Le Carré adaptations. It takes Le Carré’s first novel, A Call for the Dead, slaps a less sombre, more bums-on-seats title on it and also renames Le Carré’s masterspy George Smiley, as Charles Dobbs (Paramount, who had made The Spy Who Came In from the Cold, “owned” the Smiley name). Though in all important respects this is … Read more
Sebastian Cavazza as Milutin

AI Rising

Seen any good Serbian sci-fi lately? How about AI Rising, a film that works wonders with two main actors, a couple of sets, some clever lighting, moody music and a small team of special-effects artists who know their stuff. If there’s a criticism – let’s get this out of the way straight away – it’s that AI Rising might be straining so hard to be a “proper” sci-fi film on a modest budget that it risks looking like a kid in daddy’s clothes. It’s not an entirely fair charge but it can certainly be levelled. It’s the Pygmalion story, really, done in a faintly Solaris style, with Sebastian Cavazza playing sexist “Yugoslav” (their … Read more
Rachel Weisz and Bill Nighy

Page Eight

From the instant Page Eight starts we know where we are. The camera focuses on Bill Nighy’s face. He lights a cigarette and, as jazz music sulks away on the soundtrack, he strides out into the night. Johnny Worricker (Nighy) is another of Raymond Chandler’s white knights tilting at baddies out on the mean streets and we’re in a noirish thriller set in a world of duplicity. Personally, I’ll watch anything with Nighy in it, his gangling deadpan generally improving everything it’s inserted into. But there are two other “watch anything they’re in” presences in Page Eight. Michael Gambon (not in it nearly long enough), “the Great Gambon” as Ralph Richardson called him, … Read more

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