Visually grand, James Gray’s (The Immigrant, Two Lovers) The Lost City of Z is an old-school adventure yarn as British explorer Major Percy Fawcett spends large parts of his life in Amazonia searching for the elusive lost city of Z. He disappeared along with his son in the Brazilian jungles in 1925.
Yet, in spite of a likeable Fawcett portrayal by Charlie Hunnam (King Arthur: Legend of the Sword, Crimson Peak), the feature is strangely static, with little sense of thrill or suspense. It all becomes a little too episodic with Fawcett travelling between England and South America to spend time with his family, convince the Royal Geographic Society of the value of his expeditions before heading off, once again, into the wilds.
Overtly commercial family comedy drama as a feckless Martin (Jorge Becker – Thursday ‘Til Sunday) house sits for a distant (successful) cousin in a cool part of Santiago. With three months accommodation on offer, a directionless Martin soon starts to take on the lifestyle of his cousin’s family.
Based on a short story by Alejandro Zambra and shot largely in director Alicia Scherson’s (Play, Il Futuro) own apartment, Family Life is something of a whimsical kitchen-sink dramedy which fails to significantly ignite.
Screened in the Melbourne International Film Festival.
Sold into a stifling marriage by her parents, Katherine (a superbly scheming Florence Pugh – The Falling) is confronted with oppression and prejudice by husband and father-in-law alike. But a passionate encounter with the new hounds man sees a steely change in the newly wed.
A Victorian melodrama with a very definite contemporary twist as the female empowerment early in the narrative turns into something much darker. Renowned theatre and opera director William Oldroyd makes his film debut with this spare, expertly told narrative – and in less than 90 minutes!
A languid, Southern Gothic psychosexual potboiler as a wounded Yankee soldier (Colin Farrell – In Bruges, Miami Vice) turns up at a Virginia girls school at the height of the American civil war.
His arrival awakens sexual longing for the adult teachers left at the school (Nicole Kidman and Kirsten Dunst) as well as kindles burgeoning sexuality among the girls (particularly Elle Fanning). Erotic, poetic, tense – the southern humidity is palpable in the enclosed, claustrophobic space of the girls’ privileged environment.
The Beguiled, seemingly more expertly teased than directed by Sofia Coppola (Lost In Translation, Marie Antoinette), is a beautifully nuanced ensemble piece that, whilst at times a little slow, tells its visceral story with aplomb.
Misunderstood innocent or scheming gold-digger? Roger Michell (Notting Hill, Changing Lanes) largely keeps you guessing about cousin Rachel (a superb Rachel Weisz – The Constant Gardener, Denial).
Intense close-ups, occasional tears, grubby manor houses, surly (and scruffy) servants all add to the uncertainties of Phillip (a doe-eyed Sam Claflin – The Hunger Games, Me Before You) for her role in the death of his guardian. Infatuation replaces revenge.
It’s a gorgeous potboiler (author Daphne du Maurier was one of Hitchcock’s favourites – that should give you a clue) with one caveat – the truly awful soundtrack that is at times cloyingly sweet and generally infuriatingly intrusive.
A sinister story of obsession, Australian director Cate Shortland’s (Somersault, Lore) latest is a tense thriller where backpacker Clare’s (Teresa Palmer – Hackshaw Ridge, Warm Bodies) one night stand sees her locked in the Berlin apartment of school teacher Andi (Max Riemelt – Free Fall, Before the Fall).
But Berlin Syndrome is no schlock bad guy/good guy shocker. Shortland’s skill, in building tension, is to create an element of sympathy for both characters. Andi’s grief at the death of his father is genuine, as is the continued terror felt by Clare as her imprisonment extends by weeks.
Shortland oozes confidence in (sadly) only her third feature film in 12 years in this stylish thriller/drama.
Some 85 films were submitted for consideration for the 2017 best foreign language Oscar. Sweden’s entry, A Man Called Ove, made the final shortlist of five before losing out to Iran’s The Salesman. The other 80 must have been appalling if the Hannes Holm-helmed dramedy was seen as one of the best of the year (Julieta, Elle, Neruda, My Life as a Zucchini are just a few that failed to make that final five).
Lonely, grumpy widower Rolf Lassgard (After the Wedding, The Hunters) learns to smile again after a new family moves into the neighbourhood. Off-kilter humour early on gives way to crowd pleasing tosh, resulting in disjointed comedic sentimentality. Deeply unimpressed.
Immensely entertaining sequel – 20 years in the waiting – to the iconic Trainspotting.
Renton (Ewan McGregor – Star Wars, Moulin Rouge) is back having nicked £16,000 drugs money from his best mates at the end of the original. Sickboy (Jonny Lee Miller – TV’s Elementary) and Ewen Bremner (Snowpiercer, Exodus) are angry – but get over it. But not Begbie (Robert Carlyle – The Full Monty, 28 Weeks Later). Unfortunately for Renton, the psychotic killer has a long memory – and just happens to have escaped from prison.
Stylish, thrilling, funny, sad, with director Danny Boyle (Slumdog Millionaire, 127 Hours) returning to the highs and lows of the first, injecting an inevitable maturity but without, sensibly, trying to compete or emulate that earlier achievement.
Published in 2010, Jasper Jones the novel has established itself as one of the most loved of all local novels – an Australian Southern Gothic where the heat is real, the cicadas loud as the tension builds in the (fictional) West Australian town of Corrigan.
It’s a coming-of-age melodrama and something of a thriller mystery, touching upon the racism and narrow-mindedness of 1960s Australia. The townsfolk are on high alert with the disappearance of schoolgirl Laura. But both indigenous teenager Jasper Jones and his confidant, Charlie, know where she is and think they know what has happened to her.
Sadly, whereas the novel masterfully tells its tale and introduces a wonderful array of characters, director Rachel Perkins (Bran Nue Dae, Radiance) has chosen to race through its telling. The result is a superficial hotchpotch of barely related scenes and events. Young actors Aaron L McGrath (Around the Block) as the barely seen Jasper and Levi Miller (Pan, Red Dog: True Blue) try hard but ultimately they, along with a stellar Australian cast including Hugo Weaving, Toni Collette and Dan Wylie, are wasted.
A labour of love long in gestation by legendary director Martin Scorsese (Taxi Driver, The Departed) is a contemplative work reflecting on the meaning of faith, love, colonialism and the questioning of authority.
Padres Rodrigues (a quietly solid performance by Andrew Garfield – Hackshaw Ridge, Spiderman) and Garupe (Adam Driver – Paterson, Star Wars: The Force Awakens) arrive in 17th century Japan in search of the reported apostatised Padre Ferreira. The last Jesuit priests, outlawed, arrive to christian persecution.
Scorsese’s latest is a slowly unfolding epic which looks beautiful (cinematographer Rodrigo Prieto – Babel, Brokeback Mountain – the only Oscar nomination for the film) but is slowwww and, at times,tedious and unengaging.