Occasionally laugh out loud, The Disaster Artist is the funny telling of the making of The Room, regarded as one of the worst films ever made.
When aspiring young actor Greg Sestero (a toothy, smiling Dave Franco – Now You See Me, 21 Jump St) meets the deeply strange Tommy Wiseau (a modulated and controlled wackiness from James Franco – Milk, Why Him?) at an acting workshop, their worlds change.
It’s all based on truth as the deluded Wiseau, tired of Hollywood rejections, sets out to make his own film. Money is no object as he writes, directs, stars and produces the mess that is The Room – a film so bad it becomes a huge cult hit.
A loving homage with lots of cameo performances (Jacki Weaver, Zac Efron, Josh Hutcherson, J.J. Abrams, Kristen Bell and more), expect The Disaster Artist to appear in this year’s awards shortlists – particularly James Franco as lead actor (he also directed).
We’ve waited more than thirty years – and this visual stunner, cinematography courtesy of one of the very best in the business, Roger Deakins (Skyfall, The Shawshank Redemption), makes it all so worth it.
It’s a beautifully crafted slow burn in which LAPD blade runner K (Ryan Gosling – La La Land, Drive) stumbles across a secret, the ramifications of which, for K’s boss (Robin Wright – State of Play, Forrest Gump) do not bear thinking about. It’s crucial that Deckard, missing for 30 years, be found. An older, slower Harrison Ford makes his return.
Denis Villeneuve (Incendies, Prisoners) has moved the sci-fi aesthetic up a notch or two (and follows on from his Arrival) with this moody, cerebral spectacle.
“The history of America is the history of the Negro in America. And it’s not a pretty picture.”
A powerful, deeply personal account of race relations in the US based on author James Baldwin’s book, Remember This House, unfinished at the time of his death in 1987. Filmmaker Raoul Peck (Lumumba, Sometimes In April) envisions the book from the 30 pages of the manuscript using only Baldwin’s own words, drawn from his writings and televised interviews and speeches.
It’s an examination of past and present with Baldwin’s words ringing oh so very true in 2017 as they did 40-50 years ago when three of the writer’s friends, ‘activists’ Medgar Evers, Malcolm X and Martin Luther King were all assassinated.
Baldwin’s words resonate – with Peck, judicious snatches of contemporary news footage and a voiceover from Samuel L Jackson adding to the impact of this timely film.
A riveting historical drama as the King of Norway must decide whether to sign the accord with Hitler and the invading German army – or risk war and civilian deaths.
The burden of responsibility is carried by King Haakon VII (superbly played by Jesper Christensen – Casino Royale, Melancholia) over three eventful days as the Germans search for the King in the snowy countryside north of Oslo. The fate of his country and family hang in the balance as Haakon confronts his moral dilemma.
Measured yet immersive, director Erik Poppe (1,000 Times Goodnight, Troubled Water) avoids overtly emotional scenes or cliches, looking instead to reasoned arguments and discussions to determine the final choice for the king.
Oh, oh, oh. It’s visceral magnificence on screen. Grand gestures aplenty but the minutiae of wartime claustrophobia, fear and defeat balance this superb, emotional sweep of a film.
Christopher Nolan (Inception, The Dark Knight) tells the true story of the rescue of 300,000 British, Belgian and French soldiers from the beaches of Dunkirk, surrounded by an advancing German army. It’s the flotilla of weekend sailors and fishermen (and women) who save the day as the navy destroyers are picked off by the German air force.
A true ensemble piece – Tom Hardy, Mark Rylance, Kenneth Branagh, Cillian Murphy along with newcomers Fionn Whitehead and Aneurin Barnard are just a few – that is a jigsaw of narratives of few words and which makes up the whole, building to a rousing crescendo. Exhausting!
The latest from Mike Mills (Beginners, Thumbsucker) is a beautifully balanced late 70s nostalgic ensemble piece of likeable people.
As a single mother, the matriarch, a never better Annette Bening (American Beauty, The Kids Are Alright) quite rightly takes centre stage, persuading Greta Gerwig and Elle Fanning help raise and guide her 15 year-old son Jamie (Lucas Jade Zumann). Arguably not the most sensible choices as mentors – Gerwig’s feminist influences leave Jamie in fights with school friends over clitoral orgasms and Fanning heads off on a road trip with Jamie in tow.
It’s a film full of contradictions and it does occasionally slip into anecdotal gratification but relative newcomer Zumann is a delight and, possibly for the first time, I personally liked Greta Gerwig (Frances Ha, Mistress America) on screen.
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.
Some 85 films were submitted for consideration for the 2017 best foreign language Oscar. Sweden’s entry, A Man Called Ove, made the final shortlist of five before losing out to Iran’s The Salesman. The other 80 must have been appalling if the Hannes Holm-helmed dramedy was seen as one of the best of the year (Julieta, Elle, Neruda, My Life as a Zucchini are just a few that failed to make that final five).
Lonely, grumpy widower Rolf Lassgard (After the Wedding, The Hunters) learns to smile again after a new family moves into the neighbourhood. Off-kilter humour early on gives way to crowd pleasing tosh, resulting in disjointed comedic sentimentality. Deeply unimpressed.
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.
The best film in a foreign language Oscar winner, The Salesman is a confident, assured piece of cinema.
Surprisingly low key and minimal, to label it a revenge thriller would be doing Asghar Fahardi (A Separation, The Past) a disservice. Yet Shahab Hosseini (A Separation, About Elly) is determined to discover the identity of the man who assaulted his wife (a superbly resigned Taraneh Alidoosti – Modest Reception, About Elly) in their own home.
As with the magnificent A Separation, Fahardi builds the tension (without overly altering the pace) primarily through words, leaving you somewhat breathless as the narrative builds towards its compelling finale.