REVIEW: London Film Festival 2022 Roundup

White Noise

With White Noise, Noah Baumbach has managed to make a compelling and remarkably coherent dramedy from Don DeLillo’s postmodern epic of optimism and catastrophe.

Jack Gladney (Adam Driver; winningly ungainly with long limbs and beer belly) is a renowned professor of “Hitler studies”, who works at a fictional American college sometime in the 1980s.…

PODCAST: LFF 2021 – The Power of the Dog, Nitram, The Lost Daughter, Dashcam, Benediction, Petite Maman, Benedetta, & King Richard [Movie Robcast]

Episode 131 is our penultimate London Film Festival wrap-up episode, and it’s a bumper one.

At 2:55 we review the new Benedict Cumberbatch film The Power of the Dog.

At 11.20 we give our thoughts on the Cannes award-winning and hard-hitting drama Nitram.…

REVIEW: The Lost Daughter (London Film Festival 2021)

The Lost Daughter is an honest and assured psychological study of what it means to be, or not to be, a parent.

Leda (Olivia Colman) is a middle-aged literary professor on a solitary summer holiday in Italy. Her contentment, lying on the beach, marking her papers, is disrupted by the arrival of a large, brash American family, who lay their claim to the beach.…

REVIEW: The Father

The Father is an immaculate depiction of a man’s descent into dementia that is all the more harrowing for its formality.

Eighty-year-old Anthony (Anthony Hopkins) owns a stately flat in Maida Vale where has lived for many years. He’s charming but irascible, increasingly prone to outbursts of vitriol; like the one that has driven his latest carer to quit.…

PODCAST: Oscar Winners 2019 [Electric Shadows]

The Oscars may have occurred a week ago, but some review shows are worth the wait.

In episode 57 of The Electric Shadows Podcast, Robs Daniel and Wallis deliver their verdict on Bohemian Rhapsody winning most Oscars at this year’s ceremony and Green Book picking up the Best Picture statuette.…

PODCAST: Oscar Nominations 2019 [Electric Shadows]

Rob Daniel & Rob Wallis touch the sore tooth that is Oscar nominations 2019.

They discuss the insanity, or at least inanity, of nominating Bohemian Rhapsody for Best Picture, and how safe the Best Picture nods are in general. They’re happy Spike Lee finally has his Best Director nomination, and acknowledge a few other things the Academy got right.…

REVIEW: Murder on the Orient Express (2017)

Kenneth Branagh’s Murder on the Orient Express is undoubtedly a grand production, but lacks the elegant simplicity to be a truly first-class entertainment.

Unlike Sydney Lumet’s 1974 adaptation, this is less a starry, lavishly-upholstered murder mystery than a modern-day blockbuster that just seems to be based on an Agatha Christie novel.…

The Lobster is a blackly heartfelt chimera of a romcom

 

You wait for one comedy about men being transformed into animals then two come along at once — a non-mating pair, if you will.

But where Kevin Smith’s Tusk was about a vicious comic forcibly losing his humanity due to a mad experiment, Yorgos Lanthimos’ The Lobster is altogether more social and universal.…

Locke shows that all you need for a great film is an engine

 

The shadowy interior of a BMW, the sallow yellow glare of a streetlamp; road markings, overpasses. “You have a call waiting”.

As premises go, Locke’s is rivetingly simple: Ivan Locke, a foreman on a construction site, has had to make a last-minute trip from Birmingham down to London.…

Hyde Park on Hudson is torn between comedy of manners and Freudian melodrama

 

The last three years have done some interesting things with the legacy of King George VI.

Colin Firth’s sensitive portrayal of the speech-impaired monarch who led Britain through the Second World War rightfully won the Oscar (though the film that showcased it, The King’s Speech, was something of a “worthy” choice for the Best Picture of 2010).…