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It’s possible I am a lone reed in not loving the third remake of this quintessential film about the tragedies inherent in fame. A lone reed. Or a heartless wretch. I remained unmoved as Bradley Cooper heroically directs himself into every frame, leaving not enough room for the absorbingly wonderful Lady Gaga. Continue reading
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This serviceable dramatisation of the life of author Mary Shelley (Elle Fanning) satisfies as much as it disappoints. Feeling a bit like a made-for-TV movie, director Haifaa al-Mansour (Wadjda) paints by numbers, giving us a long succession of plot points with a good dose of high emotion but little drama. Continue reading
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It’s a long time since I last watched this movie, which has stuck in my mind primarily due to the unexpected Oscar win of then unknown actors and screenwriters Matt Damon and Ben Affleck. I’d forgotten it was directed by Gus Van Sant, a director I admire for films like Elephant (2003), Mala Noche (1986) and My Own Private Idaho (1991). Sitting down to watch this again for the first time in perhaps 10 or 15 years, I found myself underwhelmed. Continue reading
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This absorbing and layered tale by Debra Granik (Winters Bone 2010) explores PTSD and its ramifications through the story of a father and daughter living off the grid. Continue reading
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This sequel in the slasher horror franchise that launched Jamie Lee Curtis’s career in the late 70s feels like a loving homage, firmly rooted in its origins albeit with better gender (but not cultural) representation. Continue reading
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This masterful and emotionally-engaging documentary begins as a journey through the key places and moments in the life of Elvis Presley, from Tupelo to Memphis, Nashville, New York and finally Las Vegas. Filmmaker Eugene Jarecki drives around in Elvis’s Rolls-Royce and passengers join him, some telling stories of being Elvis’s friend, neighbour or fellow churchgoer, some famous faces talking about celebrity and politics, others just playing a tune. Continue reading
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I tried to keep my expectations low for this quiet and cinematic meditation on masculinity and rodeo riders. I only booked it because of recommendations from fellow MIFF tweeters and it’s often a mistake to expect too much (First Reformed (2017) is a good example of this). It took a little while to settle into the pace and the slight awkwardness of non-professional actors but once I did, I was hopelessly lost in its beauty and pathos. Continue reading
