Film Reviews by NR

An understated gem. Very droll and very relevant. Off-beat in the most charismatic way. You are sure to enjoy this film if you are new to Kaurismaki or a long time fan. He definitely has his own directorial style and the actors abide nicely to his minimal, yet affecting, ethos. Guaranteed to make you smile and, perhaps, a few tears as well

Indeed a hard-hitting, disturbing social-political movie around the financial crisis; specifically about collapse of the US mortgage and property sector.

Dennis is evicted from his sub-prime house in Florida, only for poacher to turn gamekeeper, when he joins forces with real-estate shark Rick.

The brutal side of capitalism is exposed, as the house-of-cards property market is monetised to a ruthless degree. Debt, homelessness and poverty is just another hustle for the heartless and cynical, epitomised by Rick Carver. At first there's a hint of his greed being glamorised, in a "love the smell of napalm in the morning" way. But ultimately Bahrani shows him, and his ilk, for what they are, as even the thinnest veneer of glamour and money peels away like the cheapest varnish.

The movie demonstrates how property agents were in cahoots with the banks (with a few scams and rip offs on the side), to dislodge defaulters from their meagre nests; offering them a few thousand dollars for their keys (if they agreed to get out) and selling the homes on, often as a batch, for their own enrichment.

Literally, sharks with a property portfolio.

Super interesting characters in the film. Laura Dern also excellent as Dennis' mother. Health care, the criminal system, the very roof above your head.... it's all a racket.

No time for losers.

While taking some points from the above negative review, which argues how Hollywood distorts history and facts, the viewer cannot fully deny the merits of this film.

The very point that three black women had important roles at NASA, during this period, as mathematicians and as engineers, is surely a powerful message by itself - filling in a gap of the story. Most significantly it is a powerful narrative for black girls , studying and working today, in terms of their aspirations and self-image; then also to non-black Americans (not only Caucasians) who may have prejudiced or discriminatory views (consciously or not) about black people, and black women in particular.

Even those who consider themselves to be non-racist, liberal, socialist, or just fair, will have the point made very strongly in this film: black women can be much smarter than you. Many black women are most likely smarter than you. I know that they are smarter than me.

The very notion of such, to a post-slavery US, can act as a subversive insight. Certainly to the gated communities of the privilege that often characterizes university campuses (where largely you pay to feed your mind), and then the elitist corporate recruitment processes that follow.

Yes, some of the family scenes in this movie are schmaltzy, and have the look of silly racial stereotypes about them. In particular I had to cringe at the marriage proposal scene, offered in front of all the characters' children - trying to represent people of colour as saints and paragons of society and virtue (surely an over compensation for all those nasty racist images in other productions).

Yet Hidden Figures is, all considered, a very warm and witty drama, with convincing characterization, capable of giving us surprises in terms of the facts and truths of the period represented. Plus the Kevin Costner character here (ignored by the above hostile review) is hardly a personification of white man evil or even narrow mindedness. On the contrary, Costner does his usual excellent job as the paragon of conscience and justice.

This film is not going to set your world on fire, but it is very satisfying and does prompt valuable self-questioning, as to one's true attitudes to people of African descent, in particular to women.

Of course that's why some men will hate it.

Within the prolific genre of space travel movies Winocourt's film stands out as a more female view.

There is some action - some rockets revving, as it were - but In fact the majority of the movie tracks French scientist Sarah (Eva Green), as she prepares for her trip up to the international space station. In particular the story explores her relationship with her only daughter, played wonderfully by Zelie Boulant - who comes across as serious, quirky, vulnerable and questioning - as the girl reconciles herself to the fact of mum blasting off into the universe, sensing that this must be dangerous (and certainly takes mum away). An issue made more sensitive by the fact of her parents' separation.

At the core of the movie is this mother daughter relationship, placed into an extreme and unusual situation, or sense of tension or flux. As such the movie is extremely touching and sensitive, and can be recommended for this aspect, and the context in which the relationship is placed.

Father is also a physicist and definitely takes a backseat (in the movie, that is), as a part-time dad.

The film gives an entirely different perspective to this 'moon shot' narrative. The First Man film, about Neil Armstrong was very powerful and affecting (with the subplot of Armstrong's lost daughter). Winocourt's movie gives a female perspective, as stated above, by revealing the family implications and the life context, faced by a scientist undertaking such a trip. Of course the majority of films in this genre tend to concentrate on a masculine involvement in the 'space race', the subject of rivalry and competition, and what is the almost comical symbolism of thrust one's big rocket into the void - as indicated by recent real life billionaire aspirants to this goal. We think of the Right Stuff as a classic in the genre, yet the very acme of machismo.

With Proxima, we follow a story which is the antithesis of the tradition, and which undercuts expectations.

In addition to the character's personal circumstances (which encroach on her ambition) we follow Sarah's progress through the Space Station training, and preparation, based in Russia, or one of the Russian states (which seems to be on location). There she meets with the tough tests and endurance exercises, deemed necessary for the rocket launch and time in space. Along the way she encounters Matt Dillon's Mike, an experienced American, who seems skeptical about Sarah's ability and intentions. To begin with he seems like a stereotypical 'jock' type, with some sexist assumptions about a female astronaut. As the pair get to know each other better, dissolving misleading first impressions, the movie subverts these assumptions, and Dillon's character begins to develop as scenes unfold. She's able to cut it and he's more simpatico.

Therefore, don't expect a Science Fiction narrative, or particularly a Space narrative. Rather a detailed and sensitive psychological portrayal of a would-be female astronaut, against the dilemmas of motherhood and the more petty problems of life on earth.

There are many breath-taking moments in the plot, (the space theme is not a mere backdrop) some suspense indeed, as Sarah builds to her big launch.

We get insight about the procedures and training needed for her, to prepare for a space journey. The performances are superb and authentic locations add to the 'verite' feeling of the movie.

We have been watched several movies by Hirokazu Kor-eeda (written and directed) and these certainly show a magical touch in working with child actors - drawing wonderfully natural and convincing performances (are they professionals).

Nobody Cares, an earlier example, is a supremely powerful tale of child neglect and child survival - based around a real case (which was apparently more brutal than shown in this film).

At a length of two hours and twenty, the movie repays the viewer's attention (while easily winning our attention), as it tells its story (always a good narrative in Kor-eeda's films) in a magically cinematic way, through images and the gradual accumulation of images. It's really impressive and most of these films are impressive.

The story may reflect in some way the period of stagnation in Japan, and the comparative hardship faced in that society, as well as a particular case of eccentric fecklessness.

While it is tempting the judge the adult characters, or to believe that you know the best interests of the children, or to prescribe what should happen to them in the story, the movie creates instead a self-contained, self-sufficient world, which accumulates its own logic and morality.

There seems to be a theme in recent Japanese movies about the social and psychological condition of young people - the issues of happiness or neglect, or what constitutes a caring family or a sustaining life - to which Kor-eeda's work contributes very satisfyingly.,

In simple terms, a very involving and lovely film.

A feature from the Polish period of Kieslowski, before French exile and obviously before his ascent to cinematic legend status, after the Three Colours Triology.

This movie sees some of the director's elements in play, in particular the "supernatural" element. Arguably these are more effective in a film such as The Double Life of Veronique (admittedly one of my favourite movies of all time), but its interesting to see how the director's ideas have developed or been applied differently.

Perhaps the overall story and situations are less compelling than in the more commercial or famous films, but we are dealing with a great auteur here; and the period of Polish history is always going to be interesting. Here we are dealing with the period of Martial Law.

In political terms, it's interesting to observe the pessimism or even fatalism of characters here. It's from 1986, I believe, and it seems that reforming characters - including Solidarnosc figures - only see compromise, subjugation and defeat in Poland at this moment. Of course we are well aware that the moribund system is about to crumble - as the personages (and the creative people behind them) are not aware. So from that angle, it demonstrates that despair can be misplaced. A message perhaps to the Russian people in 2021. Let's see.

Grazyna Szapolowska is superb here. The soundtrack by Priesner (forgive my spelling) is rather dirge like, but I still enjoyed the sound and again it prefigures more confident work to come.

Definitely a piece in the Kieslowski puzzle, for admirers.

Indeed a top notch satire, sharper than the stiletto of a Tory wannabe, darker than a walk through a London park after midnight.

It lances a number of trendy lefty taboos - always a good thing to laugh at yourself - and makes PC seem as tame as Cinderella.

All the things you cannot talk about on the BBC.

Sometimes the humour is so off-colour that it takes your breath away - rather like the main character of this drama.

Probably has its origins in a stage play - in fact that's most certain - but as I don't live in Hampsted or the best part of Islington, I would not have seen it - but for once the theatrical feel of the action is not a detraction.

A number of superbly judged twists, including the ending (unless you guess).

The cast, as other viewers say above, is absolutely excellent and gets it spot on; with a variety of fictional grotesques.

The black & white cinematography is fine, as it emphasises every wrinkle and cranny of the (rather desperate and sad) characters; and emphasises the black comedy of the entire situation, or 'situations'.

So this is truly sophisticated and fearless social satire. Probably not the Corbynistas idea of a good movie. Although, I could be wrong about that, as reality turns the golden calves of the safe-space ideology of today back to lead.