‘The Last King of Scotland’

Towering central performance by Forest Whitaker captures the unhinged charm and tyrannical threat of Idi Amin, corrupt president of Uganda throughout the 1970s.

A recent medical graduate, the last thing Nic Garrigan (James McAvoy) wants to do is follow in his father’s footsteps with a safe practice in rural Scotland. Volunteering to work in a missionary clinic in Uganda, an unexpected encounter with Idi Amin (Forest Whitaker) on the presidential campaign results in a very different direction for the idealist. On Amin’s election victory, Garrigan is summoned to be the president’s personal physician. Bestowed with gifts and favours, he refuses to accept the accusations of violence and corruption levelled at Amin, until his links with the president’s youngest wife Kay (Kerry Washington) puts him in personal danger.

Volatile and at times unquestionably thrilling, The Last King of Scotland is an episodic sweep of recent Ugandan history as Garrigan learns to tread on egg shells around his benefactor. Capturing the exuberance of a country renewed by Amin’s election through by fear at the film’s end, it never quite reaches the same plateau as the fearless Whitaker.

Winner of Oscar for best actor in 2007

Rating: 62%

Director: Kevin Macdonald (The Mauritanian, One Day in September)

Writer: Peter Morgan (The Queen, Frost/Nixon), Jeremy Brock (Here I Live Now, Mrs Brown)

Main cast: Forest Whitaker (The Butler, Respect), James McAvoy (Split, Atonement), Kerry Washington (Django Unchained, TV’s Little Fires Everywhere)

’All of Us Strangers’

Haunting and lyrical, a moment of deeply personal, heartfelt beauty as, deeply lonely, Adam finds ways to explore his long-repressed, pre-teenage grief of losing his parents in a car accident.

One of very few tenants in a new apartment building, writer Adam (Andrew Scott) feels isolated from the world around him. He revisits the suburban London family home of his childhood, finding solace as an adult through conversations, singularly or together, with his parents (Jamie Bell and Claire Foy). Meeting new tenant Harry (Paul Mescal) helps Adam’s journey as the two become lovers, sharing each other’s sense of disconnect.

Poignant and bittersweet in its claustrophobic unfolding by writer/director Andrew Haigh, All Of Us Strangers is a true testament to the power of love.

Rating: 87%

Director: Andrew Haigh (Lean on Pete, 45 Years)

Writer: Andrew Haigh (Lean on Pete, 45 Years) – adapted from the novel by Taichi Yamada

Main cast: Andrew Scott (Spectre, Pride), Paul Mescal (Aftersun, Foe), Jamie Bell (Billy Elliot, Film Stars Don’t Die in Liverpool), Claire Foy (First Man, Women Talking)

’Transit’

As a modern-day Paris is invaded by foreign troops, German refugee Georg desperately searches for a way to flee south to the port of Marseille.

With Paris occupied and ‘undesirables’ rounded up, as a member of the resitance Georg (Franz Rogowski) must head south, helping an injured colleague reach his wife and child in Marseille. By chance able to assume the identity of a deceased writer and with it a visa for Mexico, Georg finds himself on arrival at the port city conflicted. Crammed with people desperate to leave, Marseille is increasingly on the edge – with the invading troops closing in as they too head south. Whilst waiting for the departure date, so Georg comes into contact with the writer’s enigmatic wife, Marie (Paula Beer).

There’s a haunting timelessness to Christian Petzold’s beguiling labyrinth of a movie – the evocation of a World War II narrative transposed to the not-too-distant future that is as much a commentary about the now as it is about the past. Engrossing.

Rating: 81%

Director: Christian Petzold (Yella, Phoenix)

Writer: Christian Petzold (Yella, Phoenix) – based on th enovel by Anna Seghers

Main cast: Franz Rogowski (Victoria, A Hidden Life), Paula Beer (Undine, Frantz), Godehard Giese (A Cure For Wellness, TV’s Babylon Berlin)

‘Barbie’

Pastel-coloured Barbie World sees women in control and men decorative irrelevance. But when Stereotypical Barbie develops flat feet and cellulite, she must travel to the Human World to find out who’s responsible – and is shocked by what she sees.

An idyllic world of Barbies of different body shapes and colour in charge of their destiny. Popular Stereotypical Barbie (Margot Robbie) and a love of pink drives along the seafront, tallks to her friends, puts up with the Kens and organises all singing, all dancing choreographed parties. But flat feet and cellulite sends her via Weird Barbie (Kate McKinnon) to Mattel in the real world of LA – and Beach Ken (Ryan Gosling) has stowed away to accompany her. It’s not what she expects as she hightails it back to Barbie World.

Director Greta Gerwig takes on patriarchy in a quirky, Come on Barbie, Let’s go party comic fantasy world of plastic imagination. It’s difficult not to argue with the socio-political premise (the speech from America Ferrara as the owner of the doll causing the problem for Stereotypical Barbie nails it) and the film is fun. But for the most part it’s fragmented and borders on lollypop superficial. The snubbing of director Greta Gerwig and production design come awards time, however, is unexplainable.

Nominated for 8 Oscars in 2024 including best film, supporting actor, supporting actress, adapted screenplay, production design – won 1 for best song (What Was I Made For? – Billie Eilish, Finneas O’Connell)

Rating: 59%

Director: Greta Gerwig (Little Women, Lady Bird)

Writer: Greta Gerwig (Little Women, Lady Bird), Noah Baumbach (The Squid & the Whale, Marriage Story)

Main cast: Margot Robbie (Babylon, I Tonya), Ryan Gosling (La La Land, Drive), America Ferrara (End of Watch, TV’s Ugly Betty)

‘C’mon, C’mon’

A deeply felt, heartwarming feature as, disconnected from his sister in LA since the death of their mother, a New York radio journalist makes the commitment to look after his nephew.

Emotionally distant, Johnny (Joaquin Phoenix) struggles to connect, losing himself in his work interviewing a variety of kids about their thoughts concerning their world and their future. But when sister Viv (Gaby Hoffman) needs to spend time with bipolar husband (Scoot McNair) in San Francisco, Johnny volunteers to look after the precocious Jesse (Woody Norman).

Travelling between LA, New York and New Orleans, C’mon, C’mon is a poetic narrative of the process of parenting, the mistakes made, the unconditional love provided as, via phone, Viv talks Johnny through his responsibilities. The chemistry between Phoenix and Norman is beautiful to behold. Add the voiced opinions of the kids interviewed woven into the unfolding tale and we are left with a delicious, intelligent, visceral tale of the world as seen from a child’s perspective and the expectations they have and need.

Rating: 84%

Director: Mike Mills (Beginners, 20th Century Women)

Writer: Mike Mills (Beginners, 20th Century Women)

Main cast: Joaquin Phoenix (Joker, Her), Woody Norman (The Current War, Bruno), Gaby Hoffman (Wild, Everyone Says I Love You)

’A Room with a View’

A brief romance in early 20th century Florence leaves Lucy Honeychurch uncertain of her inevitable marriage to the somewhat staid and dull Cecil Vyse.

Chaperoned by cousin Charlotte (a splendid Maggie Smith), Lucy (Helena Bonham Carter) comes into contact with the father/son Emersons at the hotel. Dismissed by Charlotte as ‘beneath them’, the Emersons exchange their better rooms (and one with a view) with the two women. This simple act of kindness piques Charlotte’s interest in the young, romantic George Emerson (Julian Sands). A brief romance ensues before Lucy’s return to England and her acceptance of marriage to Cecil Vyse (Daniel Day Lewis).

The Midas touch of James Ivory, Ismail Merchant and Ruth Prawer Jhabvala once more prevails with this sumptuous costume drama of romanticised love, privilege and class. It can get a little bogged down in its respect of E.M. Forster’s source novel but it remains an exquisite piece of storytelling.

Nominated for 8 Oscars in 1987 including best film, director, supporting actor (Denholm Elliot), supporting actress (Maggie Smith), art direction, costume – won 1 for best adapted script

Rating: 74%

Director: James Ivory (Heat and Dust, Maurice)

Writer: Ruth Prawer Jhabvala (Heat and Dust, Howards End) – adapted from the script by E.M. Forster

Main cast: Helena Bonham Carter (Fight Club, The King’s Speech), Julian Sands (Gothic, Ocean’s 13), Maggie Smith (Gosford Park, The Lady in the Van)

‘BlackBerry’

At one time bigger than Apple, the meteroic rise of the communications company in an incredibly short time frame is matched by it’s total freefall.

A small group of technical geeks headed by Mike Lazaridis (Jay Baruchel) with support from best mate Doug Fregin (Matt Johnson) pull together a hand held phone incorporating a touch-button keyboard – in essence a handheld mobile computer. They convince ruthless businessman Jim Balsillie (Glenn Howerton) to join them, invest and sell the product. It quickly takes off into the stratosphere, but lack of investment, lies, corruption along with corporate and personal greed undermine the Canadian-based company.

A fictionalised account of the rise and fall of BlackBerry, director Matt Johnson presents an entertaining yet ultimately sad film that sees the company built on friendship, innovation and in-office movie nights become a victim of the free market.

Rating: 68%

Director: Matt Johnson (Operation Avalanche, The Dirties)

Writer: Matt Johnson (Operation Avalanche, The Dirties), Jacquie McNish, Sean Silcoff

Main cast: Jay Baruchel (The Kindness of Strangers, Million Dollar Baby), Matt Johnson (Operation Avalanche, The Heirloom), Glenn Howerton (The Strangers, TV’s It’s Always Sunny in Philadelphia)

’Million Dollar Baby’

Oscar winner for best film in 2005, the Clint Eastwood directed drama is a powerfully visceral narrative built around the determined performance by Hilary Swank as a wannabe successful boxer.

Maggie Fitzgerald (Swank) comes from nothing but has personal ambition to succeed in the one thing she wants to do – box. Convincing experienced coach Frankie Dunn (Eastwood) to take her on takes wile – and support from gym manager Eddie (Morgan Freeman), the closest Dunn has to a friend. But relent he eventually does and so the two go on a personal journey that results in success and tragedy.

Million Dollar Baby oozes quality in all its raw, profound sincerity and unassuming naturalism. Its central triage provide stripped down naturalism and poignancy that perfectly evokes the rough and ready world in which it’s set.

Rating: 80%

Nominated for 7 Oscars in 2005 including best actor, adapted screenplay, editing, won 4 – best film, director, actress, supporting actor

Director: Clint Eastwood (Mystic River, Gran Torino)

Writer: Paul Haggis (Crash, Quantum of Solace)

Main cast: Hilary Swank (Boys Don’t Cry, Amelia), Clint Eastwood (Play Misty For Me, The Mule), Morgan Freeman (The Shawshank Redemption, Now You See Me)

‘Three Identical Strangers’

Three adopted teenage boys discover they are identical triplets separated at birth. Their investigations into why return unexpected answers.

On his first day at a new college in upstate New York in 1980, a shy Bobby Shafran is baffled by the enthusiastic greetings he receives from returning students. They are mistaking him for Eddy Galland who turns out to be Bobby’s identical twin. Neither were aware of the other. The story takes a further bizarre twist when, the result of media coverage, David Kellman is added to the mix, resulting in identical triplets rather than twins. They enjoy the limelight of the resulting media frenzy – three identical 19 year-olds with similar characteristics and likes are perfect chat show material. But a darker side reveals something much more questionable. Finding details of their birth mother is relatively straightforward but (to this day) redacted information about the process of adoption and information kept from parents is unnerving as the story becomes touched by tragedy [no spoilers].

More than five years in the making, the admittedly overlong Three Identical Strangers is a determined, dogged documentary from Tim Wardle as a biopic evolves into investigative journalism. Interviews, archival and current, with the triplets, living parents and family members add to the sense of confusion with a process that did not always take into account the boys’ best interest.

Rating: 64%

Director: Tim Wardle (One Killer Punch, Lifers)

‘The Kid with a Bike'( Le gamin au vélo)

A quiet, compassionate rites-of-passage narrative as 12 year-old Cyril is abandoned by his single parent father.

Left at a boys’ home, Cyril (Thomas Doret) refuses to accept his father has moved on. He’s desperate for his parent’s love but also wants the return of his bike. In skipping school and travelling to the now empty former shared home, Cyril comes into contact with the kind-hearted Samantha (Cécile de France), the local hairdresser. Agreeing to help the boy find his dad at weekends, Samantha is drawn into supporting the emotional turmoil that is Cyril as he navigates the rejection by his father (Jérémie Renier) and falls in with the wrong crowd.

The quiet dignity of the every day is a trademark in the films of the Dardenne brothers resulting in a simplicity of narrative that is deceptively complex and volatile.

Rating: 81%

Director: Jean-Pierre Dardenne (Two Days One Night, The Child), Luc Dardenne (Two Days One Night, The Child)

Writer: Jean-Pierre Dardenne (Two Days One Night, The Child), Luc Dardenne (Two Days One Night, The Child)

Main cast: Thomas Doret (Renoir, The Unknown Girl), Cécile de France (The French Dispatch, The Spanish Apartment), Jérémie Renier (In Bruges, November)