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Jakub Gierszal as Michael

Beyond Words

The immigrant experience. Be honest, your heart just sank a little. Possibly because you’ve seen a few movies about it and you imagine you know what you’re about to be served when you hear that Beyond Words (Pomiędzy słowami, in the original Polish) is just such a thing. The tale of a sweet and blameless brown person having a hard time in a mostly white country. But that’s not what Urszula Antoniak’s fourth film is about at all. Instead it asks a rarely asked question – what of the not-so-sweet, not-so-blameless white person in another largely white country? Michael looks like a German but he isn’t one. He’s a Pole who immigrated to … Read more
Francesca Annis and Suzanna Leigh

The Pleasure Girls

Misrepresenting itself cheerfully, The Pleasure Girls is an early arrival at the Swinging Sixties party that’s only partly what the poptastic theme song and energetic trailer claim it to be. Youth! Girls! Fun! Sex! Yes, but… For a while the story sticks close to Swinging expectations – young, pretty Sally (Francesca Annis) arrives in London from the fusty provinces to become a model, takes up with a David Bailey-esque photographer called Keith (Ian McShane) and together they have a fun time, going to parties and hanging out with all the other beautiful people of mid-Sixties London. So far, so groovy. But writer/director Gerry O’Hara has other stories to tell. For one thing his … Read more
William Hale in a car and Ernest Burkhart listening to him

Killers of the Flower Moon

It turns out that one of the many uses of Killers of the Flower Moon is as a film for baby-friendly screenings. My daughter-in-law takes her new son to these on Tuesday mornings and recently reported back that the great thing about Martin Scorsese’s latest is that she could take the baby out of the auditorium to be changed or fed and then go back into the screening some time later and not really have missed much. There’s quite a lot of redundancy, in other words. It may be stylish redundancy delivered by a director fully confident of what he’s doing but you could easily cut half an hour from this film and … Read more
Kathleen Byron and David Farrar with heads together

The Small Back Room

So how do you follow a grand Technicolor extravaganza like The Red Shoes? With The Small Back Room, if you’re Michael Powell and Emeric Pressburger. A war movie set in 1943, even its title is telling us that this isn’t more of the same. And it really isn’t. A mid-grey hodgepodge in which nothing quite locks into place, deliberately, it’s almost experimental in its approach. Does this 1949 movie work? Depends what you mean. The film was called Hour of Glory in the US, which makes sense, kind of, by the time you’ve got to the end of the film but none whatsoever for the majority of it, since it’s a story of … Read more
Josie and PJ

Bottoms

How do you follow Shiva Baby, a breakthrough comedy of exquisite embarrassment? Bottoms is the answer. Put another way – you don’t follow Shiva Baby, you head off in a different direction. So Emma Seligman, who wrote and directed Shiva Baby, has made a high-school comedy this time around, with Rachel Sennott now as a co-writer and again as her star and Ayo Edebiri drafted in, who you might know from the TV show The Bear. All three were friends together in their New York University days. Sennott and Edebiri play PJ and Josie, a pair of lesbian best friends who also happen to be very unpopular at school. Not because they’re gay … Read more
Sally Gray as Sally and Trevor Howard as Clem

They Made Me a Fugitive

Exactly why the 1947 crime drama They Made Me a Fugitive was renamed I Became a Criminal for its US release is something of a mystery. One is more passive, the other more active, yup, understood. But the original title is better, punchier and asks a question – who made who a criminal? Whereas the US title is kind of flappy – so you became a criminal, so what? The irony is that this British movie really wants to be an American one. It’s soaked in the stylings, characters and logic of film noir, with mean streets, a femme fatale and a slightly off-centre Mr Big at the centre of it. Though, this … Read more
Oliver relaxes in black tie at Saltburn

Saltburn

The music in Saltburn tells you a lot of what you need to know about the movie. Starting with Zadok the Priest and ending with Sophie Ellis Bextor singing Murder on the Dancefloor, this is a big, gaudy, fun switchback that surely would have been made in Technicolor if the process was still about. A superheated noirish romp is what you get either way. The plot is simple but it plays with expectations about who exactly is zooming who. Poor little rich boy Felix (Jacob Elordi) befriends poor little poor boy Oliver (Barry Keoghan) at Oxford University, where Felix is a student as if by right and scholarship boy Oliver is there on … Read more
Rose and escaped criminal Tommy embrace

It Always Rains on Sunday

There aren’t many straight arrows in the British thriller It Always Rains on Sunday. Most of its characters are schemers or chisellers, people on the make or on the take, they’re liars, crooks or worse. When the film debuted in 1947, the people of Bethnal Green, where it’s set, objected strongly to the way it depicted their community. Unconcerned, the British public went to see it in droves. Later, when it got re-released in the early 2000s, having been given a digital wash and brush-up by the British Film Institute, American critics also raved – “a masterpiece of dead-ends and might-have-beens,” said The Village Voice. “Artful and iconoclastic,” said The New Yorker. It … Read more
Close up of Rosalind

The Eternal Daughter

You get a double dose of Tilda Swinton in The Eternal Daughter, writer/director Joanna Hogg’s “lockdown movie”, shot with a skeleton cast in a secluded Welsh hotel and making the most of the pared-down vibe. Swinton plays both Julie and Rosalind, a daughter/mother duo who have come to Moel Famau Hall (as Soughton Hall has been renamed) because it used to be Rosalind’s family home decades before. There they get a not unfamiliar reception – there’s no food because it’s late and the kitchen is shut, the rooms they have booked are not free, the wi-fi is wonky and the receptionist (Carly-Sophia Davies) is cool to the point of hostility. It’s all a … Read more
Krystyna and Kuba

Petla aka Noose

So bleak that it eventually feels like director Wojciech Has might be having a laugh, 1958’s Petla (Noose, or The Noose in English) is a desperate story of a terrible alcoholic trying to give up drink after the latest in a line of humiliations. It’s as if Billy Wilder’s The Lost Weekend had been rewritten by Samuel Beckett and then turned into a movie by Béla Tarr. This was Has’s debut feature and it’s as much a career mission statement as story in itself. Between Petla and his farewell, 1988’s Niezwykla Podróz Baltazara Kobera, Has made films that were often bleak, surreal and characterised by the blurring of fantasy and reality, chief among … Read more
Eva scratches Martin's beard

I Have Electric Dreams aka Tengo Sueños Eléctricos

Simple yet subtle and complex, I Have Electric Dreams (Tengo Sueños Eléctricos) is a Costa Rican coming-of-ager and the debut feature by Valentina Maurel, who has said she wanted to make a movie exploring the ambiguities of adolescence. Mission accomplished. Maurel drops us straight into the world of her “heroine”, Eva (Daniela Marín Navarro) and leaves us to figure out what’s going on. We meet Eva and her little sister being driven home by her seething father, who, by the end of this introduction, has lost his tempter entirely and is banging his head against the garage door until he’s drawn blood. The central relationship of the movie is Eva and father Martin … Read more
Pinkie and his gang

Brighton Rock

Not many British films make the “Best Film Noir” lists but Brighton Rock regularly does. And unlike many a key “British” noir, this one was directed by a Brit, John Boulting rather than an American fleeing McCarthyism (Jules Dassin and Night and the City or Cy Endfield and Hell Drivers), a visiting Frenchman (Edmond Gréville’s Noose) or an expat Brazilian (Alberto Cavalcanti’s They Made Me a Fugitive). It’s also unusual because of the role it gives Richard Attenborough. Nice, cuddly Dickie later of Jurassic Park fame here plays a smalltime 17-year-old psychopathic mobster in the town of Brighton, a seaside resort with a reputation for kiss-me-quick hats and extramarital affairs conducted by people … Read more

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