It may have an epic quality, so typical of British WWII period dramas, but the quirkily entitled The Guernsey & Potato Peel Pie Literary Society sadly fails to live up to expectations.
Overlong at 124 minutes, every passing moment is predictable – from the cloyingly annoying novelist Juliet Ashton (Lily James – Cinderella, Baby Driver) and her love affair with the fun but brash American, Glen Powell (Hidden Figures, The Expendables) through to her foray to Guernsey to find out more about the literary society and life under German occupation. And of course she meets her Heathcliff – the dark and broody Michiel Huisman (The Game of Thrones, The Age of Adaline).
It’s cosily well told (director Mike Newell – Four Weddings & a Funeral, Donnie Brasco) but a bit of passion and grubbiness would have been welcome (even the farm dirt looked as if it had been carefully applied).
With its savage and mordant wit, this is a celebratory dinner party that goes terribly wrong – especially as the guests do not even get to sit down for the food!
Kristin Scott-Thomas (The English Patient, Darkest Hour) is celebrating a promotion – but she is more than upstaged by news from hubby Timothy Spall (Mr Turner, Harry Potter & the Prisoner of Azkaban). But there’s more to come – facilitating the splendid Patricia Clarkson (Pieces of April, The Maze Runner) to indulge in deep cynicism and a wonderful turn of phrase.
Claustrophobic and smart, director Sally Potter (Orlando, The Tango Lesson) instills a surprising sense of fun in this stagey chamber piece. And its short at just 70 minutes!
The humour may be sporadic and a little too often writer/director Armando Ianucci’s (In the Loop, TV’s Veep) irreverent political satire falls into slapstick. But The Death of Stalin is, at times, genuinely laugh-out-loud funny.
The individual members of the Secretariat position themselves to take control of the Soviet Union at the death of their leader. Politician Nikita Khrushchev (Steve Buscemi – Fargo, Armageddon) and Lavrenti Beria (Simon Russell Beale – The Deep Blue Sea, The Legend of Tarzan), head of the secret service, emerge as favourites. No stone is left unturned as the two jockey to gain the upper hand.
Events become more and more farcical as the two become more and more desperate – and Rupert Friend (The Young Victoria, Boy in the Striped Pyjamas) as Stalin’s alcoholic son, Vasily, is a complete misfire. But the savage comedy, when it works, works very, very well. Pity it wasn’t consistent.
Absorbing in its telling, 1945 quietly explores the dark underbelly of humanity and the corrosive nature of fascism and anti-Semitism.
The war in Europe has ended as two male orthodox Jews step off a train at a remote Hungarian station. As they walk behind a horse and cart to the local village, the news of their arrival puts the residents into a complete tail spin.
Choosing to shoot in stark black and white, director Ferenc Torok (Moscow Square, Eastern Sugar) looks to memorable imagery as the preparations for the wedding of the Town Clerk’s son are disrupted by the men’s arrival. The smug satisfaction of the town is upended in just a few short hours.
It’s haunting, hypnotic, with its power coming from its subtleties.
Ultimately uncomfortable watching as director Ruben Ostland (Force Majeure, Involuntary) presents a heady mix of odd social commentary along with moments of crazed subversion.
Arrogant gallery curator Claes Bang (The Bridge, Rule #1) finds himself in deep schtick both professionally and personally as a result of a distraction during the negotiations of a controversial new exhibition.
But what on paper appears to be a linear narrative is anything but as commentary on lack of social awareness or care is troweled on thick and fast in scene after scene. Subversive, anarchic, occasionally brilliant, overstuffed with ideas but a film that could have benefitted from being 105 minutes long instead of 152. Inexplicably, The Square was presented with the 2017 Palme d’Or at the Cannes Film Festival.
This year’s Best Foreign Language Film Oscar was presented to the more political Chilean feature A Fantastic Woman. But the same category at the Golden Globes was won by the more accessible German film, In the Fade.
The grief and pain is palpable in Diane Kruger’s (Inglorious Basterds, Farewell My Queen) mesmerising performance as a mother coming to terms with the murder of her Turkish husband and six year-old son. But the grief is replaced by anger as the courts look to dismiss the murder charges against a Neo-nazi couple.
Tension rides high as director Fateh Akin’s (Soul Kitchen, The Edge of Heaven) feature vacillates between social consciousness and old-fashioned justice. It may ultimately morph into something all a little too predictable, but the less-than-innocent Kruger’s award-winning performance (best actress, Cannes) more than carries the day.
A French haute-bourgeois family, Calais-based, live their lives, a microcosm of the minutiae of everyday events.
Octogenarian Georges Laurent (Jean-Louis Trintignant – Amour, My Night With Maud) heads the family but he has passed the trucking business onto his daughter – Isabelle Huppert (Elle, The Piano Teacher). Into a family of adults living in the large rambling house enters 12 year-old Eve, daughter of Huppert’s brother from his first marriage.
Detached and icily controlled, director Michael Haneke’s (Amour, The White Ribbon) latest is a bourgeois, insidious soap opera as each quietly look for their own ‘happy end’.
Like the clothes produced at the House of Woodcock, Paul Thomas Anderson’s (There Will Be Blood, The Master) latest is distinguished, stylish and classy.
Set in 1950s London, Daniel Day Lewis (My Left Foot, There Will Be Blood) is designer to European royalty and the aristocracy. A lover of women but a confirmed bachelor set in his ways, his head is turned by Alma (Vicky Krieps – Das Zimmermaedchen Lynn, Hanna), a waitress working in a hotel in Yorkshire. Elevating Alma to a stylish beauty, the London home ruled over by sister Cyril (Lesley Manville – Another Year, Mr Turner), is soon challenged by a young woman determined to be more than merely decoration.
A gorgeous period drama that slips and slides into obscurity as intent is not always clear, Phantom Thread remains a beguiling character study of three determined personalities, as controlled and clipped as post-war English manners.
A profane delight – a black comedy dark yet compassionate, violent yet profound, a blistering yet deeply humane commentary on small town America.
Frances McDormand (Fargo, Burn After Reading) and her wry, foul-mouthed performance anchors writer/director Martin McDonagh’s (In Bruges, Seven Psychopaths) superb script. Mildred wants answers from the police for the rape and murder of her daughter more than 12 months earlier.
Head of the local police, Woody Harrelson (Natural Born Killers, Seven Psychopaths) and dumb, racist cop, Sam Rockwell (Moon, Seven Psychopaths), are firmly in her sights as the darkly comic narrative unfolds. A real crowd pleaser.
A provocative historical drama as Winston Churchill, in the early days of his prime ministership, is confronted with a possible invasion of Britain from Nazi forces. Virtually the entire British army is stranded on the beaches of Dunkirk.
Unpopular within his own Conservative party, a war-mongering Churchill (a career-defining performance from Gary Oldman – Tinker Tailor Soldier Spy, Harry Potter & the Prisoner of Azkaban) is at odds with his appeasement-seeking colleagues. War in the corridors of power and on the Continent forces Churchill to decide whether to sue for peace or fight on against incredible odds.
Director Joe Wright (Atonement, Anna Karenina) focuses on the claustrophobic machinations of parliament and underground war rooms. The result is the fiery determination and irascible wit of Churchill at the forefront of a wordy, manipulative narrative that has no intention of being subtle in the telling of its stirring story.
(A perfect complement to Christopher Nolan’s Dunkirk)