Movie, 2017 A film which looks and initially sounds like a Woody Allen film, with a cosy and vibrantly colourful 1950s Coney Island, and a few narrative conventions lightly trampled. For Allen, however, this is pretty dark territory, as gangsters turn up to ruin the developing family saga, and all manner of references to drama, writing and tragedy are brought very much to the fore. … Continue reading ‘Wonder Wheel,’ directed by Woody Allen
Fiction, 2017 Series of stories which examine and play with the way language works, is used and how meaning and intention can slip in the gaps. Streams of consciousness, digressions and other traits feature heavily and dominate over more traditional aspects such as plot and setting, giving moments of joy and exhilaration, but also a feeling – at times – of irritation, as narratives spin … Continue reading ‘Attrib. and other stories,’ by Eley Williams
Movie, 2017 A film whose premise doesn’t promise much, but which in a charming, uncomplicated way, delivers. Yes, this is a film about class and mannered societal behaviour, whose nuances are hard to find and which could be accused of being a little patronising. The film also has a backs to the wall, stick up for the underdog and – very politely – stick it … Continue reading ‘Hampstead,’ directed by Joel Hopkins
Movie, 2017 Quirky independent American film, following the adventures of a nurse, who engages the help of a heavy metal fan to investigate the robbery of her home. The quick descent and peril endured by the heroes at the hands of unrelenting and grim aggressors and an over stretched police department is both funny and fast paced – the sense of essentially decent, flawed and … Continue reading ‘I Don’t Feel at Home in This World Anymore,’ directed by Macon Blair
Movie, 2017 All star adaptation played pretty straight and down the line. Once the ludicrous moustaches Poirot wears and the over-snappy dialogue become less distracting, the film settles down, possibly plodding a little here and there, but offering a reasonable degree of entertainment. Everything feels as it should do – the luxury of Continental Pullman trains and the wealth of its passengers who can afford … Continue reading “Murder on the Orient Express,” directed by Kenneth Branagh
Movie, 2017 Dramatisation of Greg Sestoro‘s partnership with Tommy Wiseau which brought The Room to cult cinema screens, The Disaster Artist plays for and often delivers laughs, though not always doing it in a way which adds to the head in hand ham of The Room itself. A film, then, which brings an outsider’s attempt to get into to Hollywood right into the middle of … Continue reading “The Disaster Artist,” directed by James Franco
Movie, 2017 Account of the kidnap and eventual outcome when Italian terrorists snatched John Paul Getty’s grandson, John Paul Getty the Third. A film which is well shot and focusses on the emotional struggles, particularly of mother Gail Harris, but also Cinquanta, the kidnapper closest to the victim. Period detail, the gruesome paparazzi and scenes of brutality towards the victim pepper a film which may … Continue reading “All the Money in the World”, directed by Ridley Scott
Movie, 2017 Biopic of Smiths singer Morrissey. While no whitewash, this feels like a fans’ film and homage to a hugely problematic figure, who’s come a long way and has alienated many who grew up and devoted themselves to The Smiths. Still, the atmosphere of footbridges, smoky pubs, bedrooms and 9-5 day jobs is all pretty effective and transport the viewer back to a mid-1980s, … Continue reading “England is Mine”, directed by Mark Gill
Movie, 2017 The story of the struggle for power following Stalin’s death in 1950s USSR, made comically grotesque and rendered cartoon like. The effect is of making power look throwaway and ridiculous; always destructive. Some liberties are very likely taken with the source material, but done so in order to keep the film fresh and zipping along. Sometimes things happen almost too quickly; the key … Continue reading “The Death of Stalin,” directed by Armando Iannucci
Movie, 2017 A film which flits between genres, coming on as a satirical dystopia, romance, comedy and a few other mixes and things besides, but never quite hitting the mark or convincing in any one particular area. It’s at its best in the sci-fi opening section, where ideas are set up and the tone is uncomplicated and humourous. After that, the injection of the more … Continue reading “Downsizing”, directed by Alexander Payne
Culture Vulture 