An enjoyable, 90s inflected crime drama that travels at it’s own pace.Continue reading
A compelling drama about two friends that is as rigorous in form as it is in character exploration.Continue reading
Vivarium is not a ‘date movie’. It’s probably not for those expecting a child. Or couples about to step onto the housing ladder. It’s also a great little film.Continue reading
If The Iron Mask is anything, it’s a lot of fun. Sure, it’s daft and ludicrous. Yep, you’re surprised by how much Arnie and Jackie Chan are actually in it. But it is fun.Continue reading
Much like its title (already altered to Harley Quinn: Birds of Prey), Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) contains all the right ingredients but can’t help get in the way of itself.
Following Harley (played by Margot Robbie’s sheer sense of enjoyment), the film centres on a rather basic MacGuffin hunt and simple nasty antagonist (although Ewan McGregor is typically bland especially stood next to Chris Messina absolutely killing it as Mr Zsasz). It also features a couple of outstanding fight sequences that perfectly blend the film’s violence and neon glitter aesthetic. When this film moves, it really moves but where it doesn’t fare so well is in the constant diversion. I understand why it does it, the film is narrated by Harley and she is an erratic storyteller, but it often feels like we are stumbling around rather than moving forwards and there just aren’t enough straight lines for our hero to feel like a genuine agent of chaos.
But the good bits are rather good and if you do like this version of Harley Quinn as much as Margot Robbie does, then I suppose the time spent just hanging out will be just as enjoyable.
There is no doubt that Uncut Gems, directed by Josh and Benny Safdie who also co-wrote the script with Ronald Bronstein, feels like the missing film at the Oscars. Starring Adam Sandler, the film centres on a New York jeweller and gambling addict Howard Ratner as he tries to stay one step ahead of a series of bad debts and terrible decisions.
Not only is this film one of the most anxious and compulsive cinematic journeys of recent years, but it’s also the one of the most complete. Every moment feels integral, as does the city of New York itself with its electric pulse and sea of humanity. On top of this the cast is phenomenal. Sandler, a constant ball of tension, absolutely inhabits the brilliantly named central character but the supporting players are all perfect. Particular praise goes to Julia Fox and Idina Menzel as the two women in Howard’s life, reflecting the conflict that your brain is going through.
This could be the film of the year and it almost killed me.
Directed by Taika Waititi, Jojo Rabbit tells the story of a fanatical member of the Hitler Youth in the last days of WWII who is forced to question his devotion to the cause when events land closer to home. The gag is that Jojo is a ten year old boy, and Hitler is his imaginary friend. The disappointment is that the film is completely empty.
With an aesthetic that leans heavily on the cinema of Wes Anderson, and Nazi officers that have goosestepped straight out of ‘Allo ‘Allo, the film struggles to find it’s own feel and the few moments of laughter that do pop up have no actual attachment to the context (not hard when there isn’t one). This is also true of the drama. The antagonists in the film are drawn so widely that they have no power and exert no danger whilst one moment of intended heartbreak is so divorced from the perpetrators that is is rendered almost meaningless.
Jojo Rabbit reads like a movie made by a culture so dominated by a comic book sensibility that it is now incapable of discussing actual ideas. A movie where a murderous, nationalist, racial insanity is neatly compartmentalised down to a bunch of cartoon idiots. Of course, cartoon Nazi’s have been done before but spend five minutes in the presence of a film like To Be or Not to Be (1942) and you’ll see the difference. Ernst Lubitsch’s film has a lot of broad strokes, the Nazi’s are preening, idiotic in their devotion, even clownish, the humour is dark, but he never lets us forget the danger. In contrast, Jojo Rabbit just doesn’t seem interested in anything outside of the central conceit and, as a result, there is nothing there.
Based in November 2019, Ridley Scott’s Blade Runner (1982) remains one of the most iconic sci-fi movies ever made. As a piece of visual design its impact is still being felt, whilst the story it tells is remains a point of debate amongst fans.
It’s also a film that splits opinion.
On it’s release in 1982 it wasn’t well received by critics and there are plenty of criticisms that are hard to shake; it’s a detective film without much detecting, its sexual politics were old hat when it was released, and one has to wonder where the film would sit if it hadn’t been revised and re-released in different forms (my set contains five versions!)…
…and yet the film endures and, thirty seven years after it was originally screened at The Gaumont Cinema, we are bringing the original theatrical cut (the ‘European Theatrical Cut’ to be precise) back to the big screen in Guernsey.
The screening takes place at Beau Cinema at 7.30pm on Wednesday 27 November.
Tickets £7 – Book Here
On Wednesday 16 October we are screening Asif Kapadia’s latest documentary Diego Maradona. This is another fantastic film from the director of Senna and Amy.
Constructed from over 500 hours of never-before-seen footage, this documentary centres on the career of celebrated football player Diego Armando Maradona, who played for S.S.C. Napoli in the 1980s.
You can book tickets here
All pre-bookers will be entered into a draw for the chance to take a movie home.