‘Babylon’

Bombastic, grotesque, overlong – yet strangely, for a time, compelling before outstaying its welcome, Babylon is 1920s Hollywood in all its braggadocio, coarseness and self-indulgence.

A fixer at wild parties and events, Manny Torres (Diego Calva) dreams of working on movie sets. The brash and outrageous Nellie LaRoy (Margot Robbie) dreams of stardom. Both find themselves at the outrageous excess of Babylon‘s opening bacchanal extravaganza hosted by superstar Jack Conrad (Brad Pitt): both find their pathways to their dreams.

Epic in content, epic in length (189 minutes), the feature from Damien Chazelle demands stamina and commitment from audience and players alike. It looks stunning in all its excess – vast desert film lots with multiple film scenes being simultaneously shot with orchestras, Irish jig and bluegrass renting the air (these movies are silent, after all!); extended bacchanalia, indulgence and the many shortlived marriages of Jack Conrad. But then the Babylon world changes with the New York premiere of The Jazz Singer. Sound has arrived. As Torres struggles behind the scenes to keep things going, his industry and those he has remained loyal to are falling by the wayside. As do the audience – at 40 minutes too long, the overstuffed Babylon struggles to maintain the required commitment.

Nominated for 3 Oscars in 2023 – score (Justin Hurwitz), production design and costume (Mary Zophres)

Rating: 63%

Director: Damien Chazelle (Whiplash, La La Land)

Writer: Damien Chazelle (Whiplash, La La Land)

Main cast: Diego Calva (Bird Box: Barcelona, Help Me Make It Through the Night), Brad Pitt (Bullet Train, Ad Astra), Margot Robbie (Barbie, Bombshell)

‘Motherless Brooklyn’

A sublime, laid-back jazz-based soundtrack (Daniel Pemberton, Winston Marsalis, Thom Yorke and Flea) supports a quiet, lovingly-made mood piece of a feature.

Lonely, affected by Tourette’s, Edward Norton is a private detective out to find who killed his boss and only friend, Bruce Willis. It’s 1950s New York and anything goes in the public planning offices. Corruption is rife as Norton finds himself supporting Gugu Mbatha-Raw and a group involved in a battle against all-powerful official Alec Baldwin.

A labour of love (written, directed and produced by Norton, adapted from the novel by Jonathan Lethem), Motherless Brooklyn, with its real sense of time and place, is a slow, gentle homage to its genre.

Rating: 73%

Director: Edward Norton (Keeping the Faith)

Writer: Edward Norton – adapted from the novel by Jonathan Lethem

Main cast: Edward Norton (American History X, Birdman), Bruce Willis (Die Hard, The Sixth Sense), Gugu Mbatha-Raw (Belle, Concussion)

‘Boy Erased’

Adapted for the screen by director Joel Edgerton, Boy Erased is a poignant and heartfelt family drama as Lucas Hedges, the son of a Baptist preacher, is forced to attend a church-sponsored gay conversion therapy program.

Aided by superb performances from Hedges and Nicole Kidman and Russell Crowe as his conflicted parents, Boy Erased is a confronting true story of a 19 year-old college student struggling to find himself whilst everything around him crumbles. Confronted by the strict rules at the camp, Jared finds support through others attending the program.

Respectful to his subject (including the parents), Edgerton treads possibly a little to cautiously in the telling of what is, essentially, abuse. But, like the recent The Miseducation of Cameron Post, Boy Erased remains a damning indictment of the program.

Rating: 70%

Director: Joel Edgerton (The Gift)

Writer: Joel Edgerton (The Gift, The Rover) – based on the memoire by Garrard Conley

Main cast: Lucas Hedges (Manchester by the Sea, Lady Bird), Nicole Kidman (Lion, Moulin Rouge), Russell Crowe (Gladiator, The Nice Guys)

‘Baby Driver’

Pure unadulterated entertainment. It’s slick, fun, engaging with a fabulous soundtrack and an ubercool lead in Ansel Elgort as Baby.

Nearly a decade as the getaway driver for crime boss Kevin Spacey 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. It’s a heist bound to fail – especially with pyscho Jamie Foxx and trigger happy husband and wife team, Jon Hamm and Eiza González in the vehicle.

Director Edgar Wright’s 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.

Nominated for 3 Oscars in 2017 (film editing, sound editing, sound mixing).

Rating: 78%

Director: Edgar Wright (Hot Fuzz, Shaun of the Dead)

Writer: Edgar Wright (Hot Fuzz, Shaun of the Dead)

Main cast: Ansel Elgort (Insurgent, The Fault in Our Stars), Kevin Spacey (American Beauty, Horrible Bosses), Lily James (Cinderella, Pride and Prejudice and Zombies)

‘Inside Out’

Stunningly original.

Inside Out is intelligent, important, on the mark – and incredibly funny (the abstract thought corridor is extraordinary). I’ve not laughed at a film screening like this for a very long time – but also walked away impressed by the relevance, cleverness, creativity and emotional intelligence.

It has the pizzazz and colour to appeal to kids, but it’s adults who get the full benefit  – Inside Out works on so many levels. Pixar must have had a team of psychologists working with them on this.

Oscar winner for best animation, surely – but at least a nomination for best original screenplay?

Nominated for 2 Oscars – best animation and best original screenplay. Won for best animation.

Rating: 90%

Director: Pete Docter (Up, Monsters Inc), Ronnie Del Carmen

Writer: Pete Docter (Up, WALL-E), Meg LeFauve, Josh Cooley