With gorgeous craftsmanship, an insightful slow-burn of a love story, and inspired casting, director Todd Haynes and writer Phyllis Nagy have achieved the rarest of things, an adaptation of a classic novel that surpasses its source, itself now a classic staple of feminist and lesbian literature. Written in the early ‘50s under a pseudonym, The Price of Salt by Patricia Highsmith was revolutionary in that it never presented homosexuality as something to be psychologised. Whilst Todd Haynes’ Carol is deprived of that vital context, it’s more emotionally involving than the book, distilling the essence of the story into a film so rich and sumptuous that the atmosphere and tensions are practically tangible. Incredibly, this is the first film script by Phyllis Nagy, a piece of writing with the assured confidence and skill of a veteran, delivered by the immensely powerful duo of Cate Blanchett and Rooney Mara. (more…)
‘I’m not a carer, I do not care’, rants Alex Jennings’ Alan Bennett at a social worker assigned to look in on the odd woman currently residing in a van in his driveway. Obviously, this is a delusion – The Lady in the Van is all about caring. After all, how else could Miss Shepherd (Maggie Smith) survive for 15 years on one street without ever once sleeping in a real bed? Whether they’re motivated by goodwill, paid to care, see a good story in helping her, or are simply driven by the guilt that infects the London middle class, the instinct to care is at the heart of this story, keeping it warmly watchable despite its harsher or more misjudged moments. (more…)
2015 seems to be the year of the ‘50s New York department store on film. Two of the biggest players in the lead up to this year’s Oscars, Brooklyn and Carol, centre around a young woman in the mid-20th Century finding love whilst working behind a counter in a fancy shop for wealthy East Coasters. Whilst, of these films, Carol is the true masterpiece, singing the praises of Brooklyn is all too easy as well. John Crowley and Nick Hornby have adapted the lovely novel by Colm Toibin and crafted one of the best crowdpleasers of the awards season, featuring a spate of brilliant performances as well as two believable and touching romances. (more…)
Three films into his career, Scott Cooper appears to have found a rhythm that suits him. Both Crazy Heart and Out of the Furnace were un-flourishy showcases of the remarkable talents of his actors, and his latest effort Black Mass follows the same pattern, whilst being a lot more entertaining than either of its predecessors. Crazy Heart won Jeff Bridges a long-overdue Oscar, Furnace was further proof of Casey Affleck’s considerable abilities, and now Black Mass is a high-profile comeback for Johnny Depp. After over a decade of playing Jack Sparrow and other characters with the exact same quirks, Depp’s performance as notorious Boston gangster James ‘Whitey’ Bulger proves that he can still be award-winningly good. (more…)
In the Q+A after the London Film Festival screening of A Bigger Splash, director Luca Guadagnino said that to make a film about holidays that didn’t feature much nudity would be dishonest. To his credit, A Bigger Splash is a very naked film, but, more importantly, is also incredibly honest. A four-hander of simmering tensions, the entire lead quartet of actors imbue their characters with rich and real inner lives. It doesn’t hurt that two of these actors are the magisterial Ralph Fiennes and Tilda Swinton, giving top-drawer performances. Matthias Schoenarts and Dakota Johnson, two of the hottest properties in Hollywood at the moment, round out the four, and whilst they can’t match their more experienced co-stars, they’re still scorchingly good, and the entire four generates incredible chemistry. (more…)
Before mentioning anything else about The Assassin, the first full film in seven years from Chinese director Hsiao-Hsien Hou, I have to admit that I was completely baffled throughout most of the film. Having very, very little familiarity with the wuxia genre, the opaque plot flew, for the most part, over my head. Yet, somewhat bizarrely, this barely impacted on my enjoyment of the piece, which is so stunningly beautiful that it can never be boring, instead delivering its audience into a state of serenity, occasionally violently broken by a wonderfully staged fight sequence. As a purely visual experience, there is very little out there that can match it, and this praise is only vaguely tempered by the difficulties I had with the story. (more…)
Ben Foster, in films like The Messenger and Ain’t Them Bodies Saints, has proven himself to be a highly capable supporting actor, underutilised in the variety of sub-par genre pieces that he’s been a part of. In Stephen Frears’ new film, an examination of the lie at the heart of the life of Lance Armstrong, Foster finally shows the world exactly what he can do if given the right character. He’s mesmerizingly good as the disgraced cyclist, indistinguishable in mannerisms from his real-life counterpart, elevating what is otherwise a relatively mediocre, sometimes even boring, biopic. Frears found great success two years ago with his lovely true-life tale Philomena, but The Program struggles to achieve any real narrative lift, mired in frequent press conference scenes and not actually contributing much to the ongoing debate. (more…)
Even the actors who set out to tell the story of prolific screenwriter and former Communist Dalton Trumbo weren’t entirely aware of the scope of his story when they signed on to the project. Blacklisted for his beliefs and forced to churn out schlocky scripts under a series of pseudonyms to keep his family fed, he eventually won two Academy Awards he couldn’t collect until the mid ‘70s. His family business—Trumbo’s wife and three children all play key roles in transporting illicit scripts under cover of night—is highly reminiscent of Cranston’s most notorious role on Vince Gilligan’s Breaking Bad, and the zippy pacing and editing liken the film to recent gangster dramas more than the typical biopic. Ultimately, the film’s smooth blend of ‘50s and modern sensibilities keep Trumbo both relevant and unfashionably (in the best possible sense) fun.
Rather than try to tackle the decades of history leading up to the British government’s granting of limited voting rights for women in 1918, Suffragette collages a particularly tumultuous eighteen-month period of violence and retaliation in a real and present way. Avoiding broad strokes, director Sarah Gavron and writer Abi Morgan paint each character with detailed grit and infectious idealism, and the prestigious cast, gravitating around an excellent lead performance by the quietly brilliant Carey Mulligan, lends each historical event an uncanny familiarity. The film sells a world-gone-by while also tapping into the never-more-relevant zeitgeist of radical feminism, reminding audiences that the work towards equality is far from done.