An uncanny likeness of the two leads to the characters they are playing and a beautifully modulated insight into the painting process itself within the artist’s studio are the highlights of actor Stanley Tucci’s debut foray into directing.
Tucci has chosen to restrict that process to the two weeks in 1964 it takes Alberto Giacometti (a nervous, full-of-energy but profoundly annoying Geoffrey Rush – Shine, Pirates of the Caribbean) to paint the portrait of American writer, James Lord (a suitably waspish Armie Hammer – The Social Network, Nocturnal Animals).
The result is well-made but less-than-satisfying as the material (unlike Giacometti’s paint) is spread a little too thinly.
Described by many as a British Brokeback Mountain – and it’s hard to disagree.
Lonely farmer Josh O’Connor (Florence Foster Jenkins, The Program) relies on binge drinking in the local pub and casual sexual encounters as he labours on the family farm. His world changes when Romanian Alec Secareanu (Chosen, Love Bus) arrives as casual labour.
As remote as the stunning Yorkshire landscape, debut feature film director Francis Lee’s naturalistic treatment of farm life (including the ewe birthing season) and gay sexuality has resulted in a poignant, finely crafted, nuanced narrative with captivating performances from the two leads.
Sold into a stifling marriage by her parents, Katherine (a superbly scheming Florence Pugh – The Falling) is confronted with oppression and prejudice by husband and father-in-law alike. But a passionate encounter with the new hounds man sees a steely change in the newly wed.
A Victorian melodrama with a very definite contemporary twist as the female empowerment early in the narrative turns into something much darker. Renowned theatre and opera director William Oldroyd makes his film debut with this spare, expertly told narrative – and in less than 90 minutes!
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!
Pure unadulterated entertainment. It’s slick, fun, engaging with a fabulous soundtrack and an ubercool lead in Ansel Elgort as Baby (Insurgent, The Fault in Our Stars).
Nearly a decade as the getaway driver for crime boss Kevin Spacey (American Beauty, Horrible Bosses) closes in – but just because he’s paid his debt does not mean Baby can simply drive off into the sunset with new beau, Lily James (Cinderella, Pride and Prejudice and Zombies). It’s a heist bound to fail – especially with pyscho Jamie Foxx and trigger happy husband and wife team, Jon Hamm and Eiza Gonzalez in the vehicle.
Director Edgar Wright’s (Hot Fuzz, Shaun of the Dead) narrative may not be original, but a surfeit of ideas, fun and sheer class make Baby Driver one of the best films of the year.
A series of related tableau (some short and extremely witty) unfold the life of American poet Emily Dickinson.
The dialogue is quick fire passionate, the scenes stifling, claustrophobic and painterly with soft autumnal lighting, the performances arch with Cynthia Nixon (Sex and the City‘s Miranda Hobbs) masterly as the poet, ably supported by Jennifer Ehle (Zero Dark Thirty, TV’s Pride & Prejudice) as her sister.
But by its nature and subject (Dickinson rarely left the family home or, in later years, her rooms) A Quiet Passion is somewhat static. The glorious humour in the early part of the narrative peters out as an embittered Dickinson ages and her recognition as a poet fails to materialise. Writer/director Terence Davies (Sunset Song, The Deep Blue Sea) focuses on her inner demons, resulting in an austere, repressed telling of the poet and her family life.
Delightful, feel-good and totally endearing, the latest from John Carney (Once, Begin Again) yet again presents the good in both character and narrative (and provides a ripper of a soundtrack).
A nostalgic revisit to the 80s with a story that, whilst hardly innovative (new boy at school overcomes bullying, wins the girl and gains popularity), uses music to flesh out its tale. Newcomer Ferdia Walsh-Peelo is a convincing innocent discovering his inner Duran Duran or The Cure – and the relationship with his music mentor brother Jack Reynor (Transformers: Age of Extinction, Free Fire) adds an extra layer of oddball warmth.
Misunderstood innocent or scheming gold-digger? Roger Michell (Notting Hill, Changing Lanes) largely keeps you guessing about cousin Rachel (a superb Rachel Weisz – The Constant Gardener, Denial).
Intense close-ups, occasional tears, grubby manor houses, surly (and scruffy) servants all add to the uncertainties of Phillip (a doe-eyed Sam Claflin – The Hunger Games, Me Before You) for her role in the death of his guardian. Infatuation replaces revenge.
It’s a gorgeous potboiler (author Daphne du Maurier was one of Hitchcock’s favourites – that should give you a clue) with one caveat – the truly awful soundtrack that is at times cloyingly sweet and generally infuriatingly intrusive.
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.
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.