Film Review: On Chesil Beach

Adapted by Ian McEwan from his novel of the same name, On Chesil Beach follows newlyweds Florence (Saoirse Ronan) and Edward (Billy Howle) as they honeymoon on the English coast. It is rather drab by modern standards – the beach consisting mostly of pebbles and the hotel resembling something from Fawlty Towers – but for 1962, the year the film is predominately set in, could legitimately be described as exotic. Through flashbacks we see their upbringings – Florence grew up in a...

Cannes 2018: Solo – First Look Review

Bounding along some five months after the release of The Last Jedi, Solo: A Star Wars Story is a film that appears to have been reverse engineered in the hopes of appeasing those few asinine fanboys who are still reeling from Rian Johnson’s forceful attempt to do more than simply pay homage to their beloved saga. Adopting the spirit of a plucky underdog, Solo is a scrappy, sweet-natured entry into the franchise, but one that never feels entirely sure of...

Cannes 2018: The House That Jack Built – First Look Review

One wonders what it was about The House That Jack Built that persuaded Cannes director Thierry Fremaux to offer devious provocateur Lars von Trier a reprieve from his enforced exile. Presumably it wasn’t the scenes of duckling mutilation and toddler taxidermy that convinced him to change his mind, more likely it’s the fact that the whole thing comes across as a conceited exercise in navel-gazing that the festival’s programmers seem so keen to lap up. Still, at least the reports...

Film Review: Deadpool 2

With Avengers: Infinity War still breaking box office records around the world, one could be forgiven for wanting a little respite from big epic superhero productions, even if it is from one which purports to pastiche and subvert this very genre. However, whether we like it or not, Deadpool 2 is here and with it we see the return of a particular brand of crude and immature humour which is guaranteed to break any record set by its predecessor. That...

Cannes 2018: BlacKkKlansman – First Look Review

“Dis joint is based upon some fo’ real, fo’ real sh*t.” The story of Colorado detective Ron Stallworth is one of those true-life tall tales that’s just so strange it couldn’t be fiction, and in the hands of Spike Lee it proves to be pure dynamite – the director returning to the Croisette for the first time since 1991, to inject some much-needed energy into a somewhat lifeless Cannes Film Festival. Stallworth – played with charismatic charm by John David...

Cannes 2018: Girls of the Sun – First Look Review

It would be so easy to become swept up in the obvious, outward significance of Eva Husson’s Girls of the Sun. The first of only three films to play in this year’s Official Competition to be directed by a woman, the Saturday night premiere screening was preceded by a silent red-carpet protest, in which 82 female figures from within the film industry walked the steps of the Palais, led by Jury President Cate Blanchett. The number is significant, representing each...

Flashbacks to ‘93: Menace II Society

As opening statements in a film career go, the pre-credits sequence of Menace II Society is a powerful one. Two young black men, Caine (Tyrin Turner) and O-Dog (Larenz Tate) are carefully watched by the Korean husband and wife owners as they buy themselves beers in a convenience store. They’re pissed off by the implication that they are planning to steal from these people, but it’s only when the husband says “I feel sorry for your mother” that things turn....

Cannes 2018: Girl – First Look Review

The need for there to be a greater diversity in the stories we see told through cinema is once again a hot-button topic of conversation at this year’s Cannes Film Festival. And the importance of such range is perfectly underscored here by Flemish filmmaker Lukas Dhont, who earnestly seeks to help right that filmic wrong with his extraordinary debut feature, Girl. It’s a story of inclusivity and isolation that centres on Lara (Victor Polster), a determined 15-year-old girl who’s committed...

Cannes 2018: Cold War – First Look Review

“Time doesn’t matter when you’re in love.” In Pawel Pawlikowski’s skilfully assured Cannes Competition feature Cold War, however, the passing of time matters greatly. We can see the initial yearnings of an attraction from the moment Wiktor (Tomasz Kot) and Zula (Joanna Kulig) first meet. He’s a composer, travelling around Poland in the hope of bringing together a troupe of folk musicians to perform authentic Polish song & dance in venues across the country, and beyond. She’s a singer, with...

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