Edwardian hypocrisy and post-war deprivation are the order of the day in Brian Forbes’ The L-Shaped Room.
Based on Lynne Reid Banks’ book of the same name, the film follows Jane (an Oscar-nominated Leslie Caron), a twenty-seven year-old French émigré who arrives in early-60s London.…
So, here goes it: Part 2 of my three-part rundown of my 2017 London Film Festival experience. Part 1 is available here.
Call Me By Your Name
(4 / 5)
A story of sex, sculpture, and self-discovery, Call Me By Your Name is the latest in a recent trend of achingly sensitive LGBT romantic dramas that seem to hold such an allure for me.…
So, here goes it: Part 1 of my three-part rundown of my 2017 London Film Festival experience. With 242 films on display, I didn’t quite get a chance to see everything – though I’m hoping to catch a few more on the Digital Viewing Library, so watch this space.…
(3.5 / 5)
“Man that is born of a woman hath but a short time to live, and is full of sorrow.”
It’s misery and anguish that are the heart of Mudbound, Dee Rees’ Netflix-bound period drama about farmers in early 20th Century Mississippi.…
(4 / 5)
Described by some as a British Brokeback, or perhaps a Maltby Moonlight, Francis Lee’s directorial debut has a character all its own: a rough, tender, distinctly Yorkshire love story.
Based partly on Lee’s own upbringing, God’s Own Country follows the travails of Johnny (Josh O’Connor), a nervy, inarticulate young man who’s stuck running the family farm when his dad Martin (Ian Hart) is left debilitated by a stroke.…
(4 / 5)
The feature debut of filmmaker Peter Mackie Burns, Daphne isn’t so much about finding yourself as just figuring out you’re lost.
Daphne (Emily Beecham) is a stylishly insouciant redhead in her early thirties, living and working in contemporary London.…
The Love Witch
(4 / 5)
Love is a many-splendoured thing. It can also be deadly, especially when magick’s involved.
Such is the takeaway from The Love Witch, a flawless ’70s-style melodrama from writer-director/musician/editor/set-art-costume-production-designer Anna Biller.
An obvious “passion project”, in more ways than one, the film is a delicious slice of feminist theory masquerading as Technicolour confection.…
The Great Wall
(2 / 5)
To misquote the film’s tagline, “Three years, $150 million to make, what were they hoping to prove?”.
Zhang Yimou’s The Great Wall is at best a misguided curiosity – people kept trooping in and out of my screening like it was a visitor’s ward.…
(4.5 / 5)
“Happy families are all alike; every unhappy family is unhappy in its own way.” The surrogate bunch in Mike Mills’ latest, 20th Century Women, is certainly unique; if not quite unhappy.
It’s tough being a kid: discovering your sense of self, your place in the world.…
A Cure For Wellness
(1.5 / 5)
A Cure For Wellness is a film I wish was better.
A psychological horror with grandiose ambitions, it stars Dane DeHaan as Lockhart, a callow young stockbroker with ice-chip eyes dispatched to retrieve his company’s CEO from a remote “wellness center” in the Swiss Alps.…