It’s June 1944 and just days before D-Day when the Allies plan to land on the beaches of Normandy. Only British PM Winston Churchill has become more and more marginalised from the military planning – and the splendidly bombastic Brian Cox (X-Men, The Bourne Identity) is not happy.
Director Jonathan Teplitzky (The Railway Man, Burning Man) focuses on the irascible Churchill, at odds with wife Clemmie (a long-suffering Miranda Richardson – Harry Potter and the Deathly Hallows, The Hours) as well as President Eisenhower (John Slattery – Mad Men) and General Montgomery, head of the British forces. The result is a moderate, one-paced drama with little sign of Churchill’s famed charm or wit.
Tedium sets in early in director Pablo Larrain’s latest bio. As with his Jackie, Larrain is never rushed in his storytelling and even a manhunt across Chile in the aftermath of World War II verges on inert.
“The most famous Communist on Earth”, Pablo Neruda, is a persona non grata in his own country and is hunted by Inspector Peluchonneau (Gael Garcia Bernal – The Motorcycle Diaries, Amores Perros) from hiding place to hiding place. Neruda is a man unwilling to play by the rules – but the problem is that as played by Luis Gnecco (No, Perez) the poet is not particularly likeable.
Lord Mountbatten arrives in Delhi as the last British Viceroy to India. He’s to oversee the transition to independence.
Director Gurinda Chandar (Bhaji on the Beach, Bend It Like Beckham) somehow manages to reduce partition and its associated violence into an episode of Downton Abbey – even casting Hugh Bonneville as Mountbatten. Lots of hooded stares and pushing among the Hindu and Muslim servants in Government House: lots of love struck stares between Jeet Kumar (Hindu) and Aalia Noor (Muslim) in the servants quarters.
In all, the film aims to be epic in its telling, but lacks emotion or authenticity. It is only Gillian Anderson (The X-Files, The Last King of Scotland) as Lady Edwina Mountbatten who stands out in what is essentially a boring and tedious film.
Don’t Tell is based on the true story of the court case of Lyndal who, as an 11 year-old, was sexually abused by a teacher at a prestigious Queensland school. The outcome resulted in the change in laws in the way civil cases are tried.
Now a surly, rebellious 22 year old, Lyndal (an empathic Sara West – The Daughter, One-Eyed Girl) sues the Anglican church in 2001 for damages. Lawyer Stephen Roche (Aden Young – Killer Elite, Mao’s Last Dancer) and barrister Jack Thompson (Breaker Morant, Australia) support her through her court hearing.
Director Tori Garrett makes his feature film debut in this well told, authentic courtroom drama, focusing on the story rather than any cinematic gymnastics.
Overly sanitised telling of the true story of Jan and Antonina Zabinski, owners of the Warsaw Zoo who saved the lives of more than 300 Polish Jews in World War II.
A leaden script and pan-European casting (along with Jessica Chastain – The Help, Zero Dark Thirty) doesn’t help a turgid, uninspiring narrative. Director Niki Caro (North Country, Whale Rider) noticeably misses the storytelling boat – somewhat unforgivable considering the source material.
A spate of pregnancies in a post-war Polish convent, the result of Russian liberation from the German army, leads to the questioning of faith by many of the nuns. The arrival of the French Red Cross in the form of Mathilde Beaulieu (Lou de Laage – Breathe, Jappeloup) brings matters to a head.
Based on a true story, this authentic, quietly dignified telling, shot in the limited palette of a Polish winter, focuses primarily on the evolving friendship between Mathilde and Sister Maria (Agate Buzek – Redemption, The Reverse).
But the film, directed by Anne Fontaine (Coco Before Chanel, Gemma Bovary), would have been the stronger without the ‘three months later’ ending.
Solid performances from Rachel Weisz (The Constant Gardener, The Mummy) and Timothy Spall (Turner, Harry Potter) and a script by pre-eminent British playwright David Hare make Denial a worthy but wordy treatment of a true court case.
Historian and renowned denier David Irving sues American academic Deborah E Lipstadt for libel – and by doing so forces her to prove that the Holocaust took place.
Director Mick Jackson (The Bodyguard, Volcano), with somewhat pedestrian treatment, deflates what was incendiary headlines in the UK (and the rest of the world) back in 1996.
Oscar-nominated Danish film, Land of Mine is the riveting story of a group of young German POWs forced to clear a beach of thousands of buried landmines.
Based on true events where thousands of (mostly teenage) German POWs lost their lives in the immediate months following the end of World War II clearing landmines, director Martin Zandvliet (Applause, Teddy Bear) focuses on a small group under the watch of an angry Danish sergeant (Roland Moller – A Hijacking, Northwest).
Avoiding excess melodrama or grandstanding, the stark economy of dialogue and action result in concern for each of the boys whilst understanding the anger of the Danes towards what they represent. Beautifully photographed with understated performances, Land of Mine is a deeply moving anti-war film full of chilling suspense.
Quiet, understated, honourable – Jeff Nichols (Mud, Take Shelter) has crafted a loving portrayal of a young couple caught up in the race relations maelstrom of 1950s Virginia.
Based on the true story of Richard and Mildred Loving, Nichols’ film tells of the dirt poor couple whose mixed-race marriage broke all the rules on the statutes and led to changes in the law via the Supreme Court.
But the nuanced performances by Joel Edgerton (The Great Gatsby, Black Mass) and Ruth Negga (World War Z, Warcraft) avoid all grandstanding and courtroom dramas. Instead, over 10 years, Loving is their story of love , raising a family and survival.
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.