Nothing is what it seems at the El Royale, a fabulous 60s Lake Tahoe hotel with a seedy past and now firmly off the beaten track. Seven strangers all inevitably interlinked in some obscure way – the question is who’s going to survive the night.
It should have been magical – with a cast including (the ever enjoyable) Jeff Bridges, Jon Hamm, Chris Hemsworth – but it’s Cynthia Erivo (Widows) who steals the show in a somewhat lacklustre thriller. An over-indulgent 140 minutes that could – and should – have been much more than a fleeting, unmemorable bit of fun.
In spite of knowing the outcome of Apollo 11 and Neil Armstrong’s walk on the moon, director Damien Chazelle (La La Land, Whiplash) and his taut telling of the historic moment teases out every thrill, tension and suspense.
Somber, claustrophobic and with a focus on the men and their families (a controlled, nuanced Ryan Gosling – La La Land, Drive – as Armstrong, a riveting, scene-stealing Claire Foy – Unsane, TV’s The Crown – as his wife, Janet), First Man is intimate and deeply humane. But it is also a technical tour de force, with particular reference to the editing by Tom Cross (La La Land, Whiplash), and a likely swag of behind-the-scenes Oscar nominations.
It’s telling when, in director Ruben Fleischer’s Venom, the most engaging moments are the two (short) scenes between Tom Hardy (The Revenant, Inception) and his local Asian female shopkeeper.
Venom is a unimaginative bombast of an origin film as Hardy acquires the power of an alien symbiote as an alter ego in his (initially reluctant) battle with power-crazed Carlton Drake (Riz Ahmed – The Reluctant Fundamentalist, Nightcrawler).
In spite of all the CGI, the latest in the Marvel Comic oeuvre feels somewhat dated and wastes a great deal of talent. It’s an uninspiring yarn lacking any sense of the fun expected from a director responsible for Zombieland and Gangster Squad.
Award-winning documentary filmmaker Bart Layton (The Imposter) takes on the true story of a daytime heist that goes wrong with mixed results.
Four clean-cut Kentucky university students attempt a multimillion-dollar art theft from their own library led by the incompetent Barry Keoghan (The Killing of a Sacred Deer, Dunkirk) and Evan Peters (X-Men Apocalypse, Kick-Ass).
It’s a preposterous idea of fantasy and fiction as the bored four make plans, the narrative interspersed with commentaries from the real-life, evidently traumatised, protagonists and parents. Sadly, the film fails to do the story full justice. A slow, ponderous first half is ultimately uninteresting, lacking any gripping immediacy or empathy. It’s the heist that grabs the attention, 20-30 minutes of action and wry, incompetent humour that highlights the dullness of the preceding first hour.
An intense, devastating family drama of domestic abuse as Denis Menochet (Inglourious Basterds, In the House) looks to gain joint custody of his young son.
Bleak and hellish, Custody is unrelenting in its slow build with palpable fear in the eyes of newcomer Thomas Gioria as Lea Drucker (The Man of My Life, In My Skin) looks to protect her family.
Debut director Xavier Legrand’s claustrophobic tour de force is no easy watch, but with superb performances from a relatively small cast, Custody is heart-wrenching in its pain, fear and anger.
A tense thriller, as a narrative Searching is hardly original – father (John Cho – Star Trek, Harold & Kumar Escape From Guantanamo Bay) desperately searches for his missing teenage daughter with the help of concerned police detective, Debra Messing (TV’s Grace of Will & Grace).
Yet every single scene of this self-assured first feature from director Aneesh Chaganty is revealed within a screen – I-phone, I-pad, Face Time, computer, surveillance camera, news bulletins. The result is a cutting-edge thriller that, in making up for lack of character development, ramps up the tension as, in commenting upon our use of (and reliance upon) computer technology, it heads for a somewhat unexpected denouement.
A modest, low-key Christian gay conversion therapy drama as Chloe Grace Moretz (Kick-Ass, Let Me In) is caught in the clutches of Bible Study classmate Coley at the School Prom.
Writer/director Desiree Akhavan (Appropriate Behaviour) elicits sensitive, nuanced performances from a cast of predominantly young adults as Moretz develops a close relationship with the dope-growing, resigned-to-their-fate Jane (Sasha Lane – American Honey, Hearts Beat Loud) and Adam (Forrest Goodluck – The Revenant, Indian Horse).
Whilst avoiding overt grandstanding, The Miseducation of Cameron Post, through its lightness of touch and wry humour, is a damning indictment of institutional Christianity. It collected the Grand Jury Prize at the 2018 Sundance Film Festival.
A great documentary for the togs and sheer spectacle of Alexander McQueen’s visionary presentation but as an insight into the man himself, Ian Bonhote & Peter Ettedgui’s documentary is sadly lacking.
Undoubtedly a tortured genius, Lee Alexander McQueen, the London chav, son of a taxi driver, took the fashion-world by storm prior to his suicide in 2010. Candid interviews with colleagues, friends and family provide a certain insight into the man, but there’s a great deal more left out or merely touched upon (cocaine abuse, HIV, child abuse). And it’s this imbalance that leaves the rags to riches tale as a lost opportunity.
A taught, nervous, noir thriller as traumatised veteran Joaquin Phoenix (Walk the Line, Inherent Vice) tracks down missing persons – with liberal use of violence when necessary. With the disappearance of a senator’s daughter, Phoenix finds himself in a tight-knit paedophile ring.
Winner of both best screenplay and best actor at the 2017 Cannes Film Festival, director Lynne Ramsey (We Need to Talk About Kevin, Ratcatcher) has adapted the novel by Johnathan Ames into a moodily stylish ellipsis of flashbacks, suggestion and suppression. It’s a pity that You Were Never Really Here occasionally lapses into incoherence.
Proving that nothing in the Middle East is straightforward, writer/director Ziad Doueiri (The Attack, Lila Says) has produced a powerful feature where a Lebanese Christian (an angry Adel Karam – Caramel, Where Do We Go Now?) takes a Palestinian refugee (a quietly nuanced Kamel el Basha – Love, Theft and Other Entanglements) to court for assault.
It’s highly political as what starts as a seemingly minor issue escalates as memories of events from the civil war come to the fore. It may lack subtly in its telling and is a tad overlong but The Insult remains an enthralling insight into conflict and potential reconciliation.
The Insult was nominated for the 2017 Best Film in a Foreign Language Oscar (it lost out to Chile’s A Fantastic Woman).