Benjamin (Simon Amstell, 2018)
Yesterday (Danny Boyle, 2019)
I’d not knowingly come across Joel Fry before, but here he is, playing essentially the same role of kooky and tactless best friend in two romcoms.
Back in the late 1970s, Brian Henderson suggested that the romcom was no longer possible – two broad schools of the genre divide into two questions. Continue reading →
The Dead Don’t Die (Jim Jarmusch, 2019)
Jim Jarmusch is evidently one of those low budget indie auteur who both builds an ensemble around him and persuades A-List stars in search of artistic credibility to work for him (presumably for scale). A couple of years ago he cast the divine Tilda Swinton in a misjudged vampire film, Only Lovers Left Alive and now he shifts to the zombie film to pastiche.
Continue reading →
Jake Gyllenhaal has a strange look in his eyes for the first half hour — “I was nominated for a Oscar,” they say, “I used to do low budget quirky cult hits.” He’s a superhero from a parallel dimension, here to do battle with four Elementals that want to destroy this Earth as they destroy his. And it just so happens Water hits Venice when Peter Parker is on his school trip.
Continue reading →
Gloria Bell (Sebastián Lelio, 2018)
So Chilean director Sebastián Lelio made a well-regarded film called Gloria (2013), about a middle-aged divorcée’s tribulations whilst dating. Julianne Moore saw it and liked it and decided she wanted to star in a remake.
There’s an ambiguity to this film and my response to it — in part the double standard of how we (I) react to no-longer-youthful women in films compared to men of the same age. Here’s she’s a divorced mother of two trying to find a new partner or at least some fun in the Californian disco scene. Isn’t she brave to let herself not be glamorous, we (I) might think, in a way we wouldn’t for costar John Turturro. And yet there is an A-list glamour she hasn’t shaken off here and she is in pretty well every shot. She’s had an interesting line in troubled wives already — Far From Heaven, The Hours, Savage Grace — so this is hardly a stretch. We’re carried along by her boogieing to the music, we cringe or empathise at the troubled women in her family and circle, we wonder when Turturro got middle aged…
There is hope — in her daughter’s long distance relationship and in her ex-husband’s new marriage, although he seems estranged from his children. Turturro’s character, whom Gloria meets at a disco, ought to set alarm bells off earlier than he does and presumably it is her sense of this being Her Final Chance that means she ignores them. But she in part condemns faults in his relationships she has in her own. Meanwhile, his military background would have had a more sinister implication in the Chilean original than it does here.
Meanwhile, the film putters along, incident after incident, with minor cameos (Jeanne Tripplehorn, Chris Mulkey) promising more than their characters have screen time to deliver. There’s a moment of crisis that offers catharsis, but doesn’t quite deliver, which feels like the film as a whole.
Rocketman (Dexter Fletcher, 2019)
I confess to not paying that much attention to Reginald Dwight — although there was no escaping his persecution by The Sun when he sued or his Diana anthem and he cowrote with Tom Robinson — oh and he had those photos at t’Tate. Although, curiously, I’ve always enjoyed his songs when I’ve heard them. I knew the brief outline of his life story and … Continue reading →
Tolkien (Dome Karukoski, 2019)
The author biopic has a real problem to navigate — we want to know what they get their crazy ideas from but it turns out they just lived it.
Picture Tom Eliot wandering down King William Street and some passing bloke in a Stetson says, “Bloody cruel month, April.”
Continue reading →