Coming to UK screens off the back of huge box office success in the US, low budget horror film Get Out is destined to be one of the most talked about films of the year. Review follows… Continue reading
There follows a review of Mel Gibson’s triumphant return to the director’s chair Hacksaw Ridge. If you are looking for a review that will psychoanalyse Gibson you will be disappointed. I am entirely unqualified to go there, and will stick to discussing the actual film. Which is terrific. If you have followed Gibson’s fall from grace (and who hasn’t?) you can see Hacksaw Ridge and draw your own conclusions as to whether it is the work of a man actively seeking redemption or not. Continue reading
Shown this Christmas on BBC2, 2014’s Pride was my favourite film of that year and hopefully will find a wider audience on its terrestrial television premiere.
This is an article I wrote about the film (with a few minor edits) for the late and much lamented movie magazine Verite. Continue reading
Obviously I have to do a top films of 2016 list right? No real ground rules, this isn’t the best films of the year, its my favorites from among the new films I have seen this year. My press screening attendance was limited this year, and my festival attendance non-existent, so it is a somewhat mainstream list and all these films received some kind of UK theatrical release in 2016.
Opening in the UK on the 25th November, Robert Zemeckis, Brad Pitt, and Marion Cottilard hope to bring some classic Hollywood glamour back to the spy thriller. Do they succeed? Is the headline above a clue? Find out after the jump… Continue reading
As almost every review has commented, its been seven years since fashionista Tom Ford tried his hand at movies with his debut film 2009’s A Single Man. That movie seemed like a perfect distillation of Ford’s style, a measured, elegant character piece adapted from Christopher Isherwood’s 1964 novel. A Single Man followed a suicidal college professor George Falconer (played by Colin Firth) bereft following the death of his partner Jim over a single day. The film addressed issues of sexuality, and the repression and uncertainty of early sixties American culture. It was not anything if not elegant, meticulous in its period detail and fashions (especially the distinctive glasses worn by Firth). The film met significant acclaim, but there was the suspicion that it was a definitive filmic statement by Ford, a one-off dip in an artistic pool made by a man who could afford to dabble. Continue reading
You very much know what you are going to get from Ken Loach. He rarely works in genre, unless you consider the Loach picture a genre in itself (the case can be made). Since making Kathy Come Home for the BBC’s Wednesday Play strand in 1966 Loach has spent the ensuing 50 years making socially conscious, usually contemporary dramas with socialist themes. His films take place in working class milieus, and he finds warmth and humour even in the grimmest of subjects. Continue reading