A worthy, slightly dull talkfest of events immediately prior to and following the assassination of John F Kennedy – with a focus on Texan Vice President Lyndon B Johnson.
Forthright and vulgar – and diametrically opposed to a number of Kennedy’s key policies, including the Civil Rights Bill – Johnson nevertheless stepped up to the mark on Kennedy’s death. Some, including Bobby Kennedy (a fresh-faced Michael Stahl-David – Cloverfield, In Your Eyes), believing callously too quickly.
LBJ is an informative biopic of the man who pushed through a great number of landmark social policies but who is ultimately judged as the president who escalated American involvement in Vietnam. But the film very much belongs to Woody Harrelson (The People Versus Larry Flint, Three Billboards Outside Ebbing, Missouri) and his vibrant, convincing performance as the man carrying the weight of the free world on his shoulders.
Gary Ross (Seabiscuit, The Hunger Games) is no Steven Soderbergh. Consequently, the quick-witted pizzazz and slick style of Ocean’s 11 and 12 (OK, 13 can be ignored…) are sadly and noticeably missing.
Released from prison, Sandra Bullock (sister of George Clooney’s recently deceased Danny Ocean) rounds up the gals for a massive diamond heist at the First Monday of May Met gala. Cue the likes of Cate Blanchett, Helena Bonham-Carter, Rihanna and Sarah Paulson joining the fray – with the Cartier Toussaint necklace, to be worn by Anne Hathaway, the main target.
It’s more zircon than diamond, with a star-studded cast and plentiful cameos wholly wasted (with the exception of the quirky Helena Bonham-Carter). A damp squib.
A gaunt Vincent Cassel (Black Swan, Mesrine) perfectly captures the destitution of a man prepared to sacrifice everything for his art. But sadly, director Edouard Deluc (Welcome to Argentina) fails to instil any sense of magic into the film that focusses on the first visit (1891-93) to Tahiti by Paul Gauguin.
Neither a virtually unspoilt paradise nor (in the film, if not in real life) a marriage to a local woman allays the desperate poverty, with Gauguin eventually being repatriated to France on a state-provided free passage.
In spite of its restricted time span, a too broad a narrative is covered by Deluc. With its slow-pacing and too frequent insistence on capturing the moment of a famed work by the artist, the result is a somewhat dull film – ultimately not helped by the morosely beautiful soundtrack from Warren Ellis (sometime collaborator with Nick Cave).
The ‘Z’ word may not be mentioned, but enjoyable Australian film Cargo firmly falls into the zombie-horror genre, but with more than a little social commentary.
With suggestions of fracking and other environmental abuses the cause of the epidemic that has decimated the country, Martin Freeman (The Hobbit, Black Panther) searches the outback for someone to look after his baby daughter.
Developed from a seven minute short by directors Yolande Ramke and Ben Howling (both making their feature film debut), whilst Cargo is occasionally plot and dialogue creaky, Freeman instils an engaging level of pathos to proceedings. And the final minutes are stirring and moving.
Marvel’s follow-up to the refreshing 2016 Deadpool is a templated repeat formula of the first film – but with no suspense, off-the-mark humour and a derivative storyline.
Ryan Reynolds is back as the foul-mouthed Wade Wilson – and it’s fellow mutants who need to band together to save the young Firefist (Julian Dennison – Hunt for the Wilder People, Paper Planes) from the time-travelling Cyborg, Cable (Josh Brolin – Sicario, George W.)
An interesting casting decision regarding Brolin as Cable and Thanos in The Avengers but that’s where any interest in Deadpool 2 begins and ends. A bore.
An oddity – an intriguing yet clinically told love story as two apparent opposites meet and against all odds become involved.
According to the workers on the shop floor at the abattoir, the new stand-offish quality controller, Maria (Alexandra Borbely, winner of Best Actress at the European Film Awards), follows the rules too closely. The Finance Director (Geza Morcsanyi – at 65 making his acting debut) looks on bemused. But then the two discover they have exactly the same dreams…
Amid gruesome slaughterhouse scenes, this intimate, challenging narrative moves slowly as the two come to understand each other.
Alongside a nomination for the Best Foreign Language Film Oscar, Ildiko Enyedi’s film won the Berlin Golden Bear and best film awards at Sydney, Portland, Mumbai and Sofia film festivals.
An important film exploring Parisian gay activism in the 1990s under the ACT UP banner and the shadow of AIDS, BPM (Beats Per Minute) delves deep into the motivational psyche of the young men and women involved.
It’s surprisingly gentle, weaving a love story between two members of ACT UP with the various interventions, campaigns and associated debates. The result is a powerful, lyrical, emotional narrative that resonates on a much wider political level.
Underpinned by the two leads, an energetic, driven Nahuel Perez Biscayart (All Yours, Tattoed) and the laid back Arnaud Valois (Charlie Says, Girl on the Train), writer/ director Robin Campillo (Eastern Boys, They Came Back) mixes intimate tenderness with a sense of desperate urgency. BPM (Beats Per Minute) was awarded the 2017 Cannes Grand Jury Prize (effectively runner-up to the Palme d’Or winner, The Square).
After the misfire that was Ricki & the Flash, it’s good to see writer Diablo Cody reunited with director Jason Reitman, the team responsible for Juno and Young Adult.
A heavily-pregnant Charlize Theron (Young Adult, Monster) is just not coping as it is with money tight, two young kids to care for and a loving husband who prefers video games to recognising the stress his wife is under. Enter Tully (Mackenzie Davis – Blade Runner 2049, The Martian) – a night nanny and Godsend. Only not everything is what it seems.
Quirky yet dark humour abounds but with more than its share of issues that are no laughing matter, the two women shine as they play off against each other.
With more twists than a slinky, Agatha Christie’s Crooked House leaves you guessing as to just who in the family murdered Aristide Leonides, the wealthy but controlling industrialist. Disillusioned and broke sons? The gold-digger of his second, much younger, wife? His sister-in-law? One of his grandchildren?
A lavish adaptation with something of a starry cast (Glenn Close, Terence Stamp, Gillian Anderson, Max Irons) holed up in the Leonides household does not, sadly, make up for this dull telling.
Director Gilles Paquet-Brenner (Sarah’s Key, Dark Places) flounders with the material, material that would benefit hugely from a contemporary fillip. Adaptations of Christie’s murder mysteries are too often too faithful to the source material. The result is 1930s/40s clipped dialogue along with white, English, bourgeois/aristocratic mores and manners. A pity as the reveal of Crooked House is unexpected.
A damning account of Senator Edward Kennedy’s role in the 1969 car accident that killed his potential presidential campaign secretary, Mary Jo Kopechne (Kate Mara).
Political corruption comes to the fore as the last surviving son of the Kennedy clan faces potential charges. Australian actor Jason Clarke (Dawn of the Planet of the Apes, Mudbound) completely owns the role of the arrogant career politician who leaves the scene of the accident, failing to even report the event to the police.
Sadly, a fascinating story that essentially ended the presidential hopes of Kennedy lacks passion and vigour as director John Curran (Tracks, The Painted Veil) allows the narrative to simply plod along.