Film Reviews by griggs

Crossing, directed by the brilliant Levan Akin, is a mesmeric film that lingers in the mind long after the credits roll. Akin's masterful direction makes the film entirely character-driven, focusing intently on its protagonists' intricate lives and relationships. Instead of relying on the stunning backdrop of Istanbul to carry the narrative, Akin uses intimate close shots to draw the audience deeply into the characters' personal journeys.

This approach creates an unparalleled sense of immersion. The camera's unwavering attention to the subtleties of expression and interaction makes you feel as though you are not merely watching a film but intruding on genuine moments of connection and conflict. The effect is a visceral experience of human emotion, rendered with a rare authenticity.

The acting is nothing short of incredible. Each actor delivers a convincing performance that blurs the line between fiction and reality, making you feel like an interloper in the scene rather than a mere spectator. Their portrayal of complex emotions and relationships is nuanced and powerful, contributing to the film's profound impact, leaving you deeply moved and affected.

Crossing is a testament to Akin's visionary direction and the exceptional talent of its cast. It is a beautiful film that captivates the heart and mind, offering a profoundly human story that resonates on multiple levels, making you feel deeply connected and understood.

Watching My Neighbor Totoro in its subtitled version on the big screen was a thoroughly wonderful experience, allowing me to appreciate the film as it was originally intended. The enchanting story of two young sisters befriending mystical forest spirits, especially the gentle giant Totoro, is brought to life with beautiful animation and a heartwarming narrative. Studio Ghibli's masterful artistry and storytelling are evident in every frame, creating a magical, immersive world that captivates both children and adults alike. Seeing it in its original language added an authentic touch, enhancing the charm and emotional depth of this beloved classic.

Show Me Love captures teenage angst and awkwardness with charming authenticity. The wooden performances and predictably cliché plot offer a nostalgic trip down memory lane. Suppose you want to relive the cringe-worthy moments of adolescence. In that case, this film delivers it all with a touch of endearing clumsiness.

Oh, MaXXXine, what have you done? The film, which promised to be the grand finale of the X series, instead delivers a masterclass in mediocrity. With a plot so thin you could see through it, characters more lifeless than mannequins, and dialogue that could put an insomniac to sleep, MaXXXine truly redefines the term "disappointment." It's almost impressive how a series that began with such promise and rose to acclaim with Pearl could nosedive so spectacularly. What a sad end to a trilogy that had the potential to be so much more, leaving us with this sad, sorry excuse for a finale.

Chariots of Fire is a film that is just good enough to keep you awake, offering a moderately paced exploration of early 20th-century British runners. While the iconic Vangelis score might have you feeling like you’ve stumbled upon a vintage synthesizer convention, the story itself plods along like a leisurely jog rather than a sprint. Harold Abrahams’ plotline of overcoming antisemitic prejudice simply because he can run fast is a subtle reminder of how bigotry can be defeated by wealth. The characters are charming in a stiff-upper-lip sort of way, and the period costumes, so authentically drab, will transport you back to the early 20th century. It’s a solid choice if you’re in the mood for some light historical drama that won’t leave you breathless.

Ah, The Blair Witch Project, what a masterpiece of shaky camera work and incoherent mumbling! Who wouldn't want to spend 81 minutes watching a group of 'actors' stumble through the woods, pretending to be scared of stick figures and piles of rocks? The innovative decision to never show the witch was a stroke of genius, leaving audiences with the thrill of using their imagination to conjure something scarier than the film itself. And let's not forget the nausea-inducing cinematography, perfect for those who enjoy feeling seasick in a cinema. Indeed, it is a groundbreaking piece of cinema that redefined the limits of patience.

At 93, June Squibb is basically the Tom Cruise of the senior set, doing her own stunts as Thelma, a spry yet mischievous granny on a mission for justice after being swindled by a phone scammer. While her panicked family squabbles tiresomely in the background, Thelma cruises around town on a stolen mobility scooter amidst massive explosions, proving that age is just a number. The film may be light on laughs, but Squibb's charm makes this otherwise formulaic film somewhat bearable.

Oh, Lisa Frankenstein was just an absolute masterpiece of mediocrity! They took the classic Frankenstein story, wrung out all the horror and drama, and drenched it in painfully awkward teenage angst. The special effects? Stunningly reminiscent of a high school drama club production. And the script, my goodness, who knew you could fit so many clichés into one movie? This film is a must-see if you enjoy cringing for two hours straight and questioning your life choices. Two stars simply because I managed to stay awake till the end.

The Servant is a deliciously twisted film that masterfully blends noir, horror, and dark comedy, reminiscent of Frankenheimer’s "Seconds" (1966). Tony, a wealthy layabout, unwittingly lets his manipulative servant Hugo and Hugo’s "sister" Vera turn his life into a nightmare. From the start, Wendy Craig’s Susan, Tony’s perceptive but snobbish girlfriend, sees through their schemes. The film escalates into a series of manipulative manoeuvres and awkward seductions, with Vera seducing Tony in a humorous and chilling scene. Director Joseph Losey crafts a frightening and funny story, with impeccable performances and a sharp script that makes The Servant a modern classic. It's a lacerating satire wrapped in the guise of a scandalous soap opera. It is a must-watch for anyone who enjoys their drama with a side of dark humour and existential dread.

A masterpiece of sheer subtlety and restraint, the Coen brothers' debut film is a refreshing original take on a seemingly simple story. They have managed to turn a tale of a sleazy bar owner, a cheating wife, and a bumbling private detective into a complex web of unnecessary complications, showcasing their unique ability to add unexpected depth to a plot.

Serpico is just the perfect bedtime story for anyone who’s ever dreamt of becoming a police officer. Who wouldn’t want to dive headfirst into a world where corruption is the norm and the only reward for honesty is a one-way ticket to paranoia and isolation? Al Pacino’s portrayal of Frank Serpico, with his big, soulful eyes and relentless quest for justice, is the heart of the movie, designed to make everyone feel warm and fuzzy about the moral fabric of our society. And let’s not forget the delightful backdrop of gritty 1970s New York City, which adds extra beauty to this uplifting tale. It’s a must-watch for anyone who enjoys a good laugh at the expense of their faith in humanity.

Richard Linklater's Boyhood is a cinematic time machine, condensing 12 years of growing pains into a breezy 2 hours and 45 minutes. Ellar Coltrane goes from an inquisitive kid to a moody teen right before your eyes, reminding you just how awkward puberty is. Patricia Arquette and Ethan Hawke play the parents with such authenticity that you'll wonder if they got trapped in a real-life parenting simulator. By the end, you'll feel like you've survived another childhood—braces, bad haircuts, and all. Five stars for this epic nostalgia trip that proves time flies, especially when someone else is doing the aging.

Yorgos Lanthimos' The Lobster, his first English-language film, as with all his movies, is a darkly comedic and profoundly unsettling exploration of power and control, echoing the thematic concerns of his earlier works. Set in a dystopian near-future, the film delves into state interference in the most personal aspects of life—love and romance—revealing the absurd lengths society might go to regulate human relationships.

In The Lobster, single individuals are rounded up and transported to a hotel where they must find a partner within 45 days. Lanthimos masterfully uses this setting to dissect such expectations' arbitrary and often oppressive nature, illustrating the dehumanising effects of coercive conformity.

As with his previous films, Lanthimos employs a mix of actors he has worked with and new faces who would continue collaborating with him in subsequent projects. Colin Farrell delivers a standout performance as David, a recently single man navigating the absurd rules of the hotel. His understated, almost deadpan portrayal perfectly captures the film's bleak humour and the inherent tragedy of his situation. As the unnamed Short-Sighted Woman, Rachel Weisz brings a poignant depth to her role, providing a counterpoint to the rigid structure of the hotel with her rebellious spirit.

Lanthimos also includes familiar faces from his earlier works, such as Angeliki Papoulia, who previously starred in Dogtooth and Alps. Her role as the Heartless Woman is chilling, embodying the ruthless enforcement of the hotel's rules. These returning collaborators help to create a sense of continuity and thematic coherence across Lanthimos' oeuvre.

The film's supporting cast, including Léa Seydoux and Ben Whishaw, also delivers compelling performances, contributing to the film's eerie, off-kilter atmosphere. Seydoux, in particular, shines as the leader of the Loners. This group rejects the hotel's rules but imposes its own harsh code, emphasising Lanthimos' commentary on the pervasive nature of control.

Visually, The Lobster is striking, with Lanthimos' signature meticulous framing and cold, clinical aesthetic. The sterile environment of the hotel contrasts sharply with the untamed wilderness where the Loners reside, visually reinforcing the film's central themes of freedom versus control. The Lobster is a bold and provocative film that solidifies Yorgos Lanthimos' reputation as a master of modern cinema. It is a thought-provoking, uncomfortable exploration of the extremes society might go to regulate personal relationships, filled with dark humour and unsettling insights. This film is a must-watch for fans of Lanthimos and anyone interested in cinema. It challenges conventional narratives and delves deep into the complexities of human behaviour.

Julien Temple’s adaptation of Colin McInnes' cult coming-of-age novel Absolute Beginners is a bold and vibrant musical rather than a straight interpretation of its source material. This artistic choice sacrifices some of the novel's most fundamental narrative elements. While visually striking, the film's Disney-esque colourful sets create a jarring contrast with the few scenes shot on location, making the latter seem lacking altogether.

Initially hailed as the saviour of the British film industry, the film's release was met with disappointment and dismay. The high expectations and the film's departure from the novel led to a disjointed narrative, further disrupted by surrealist interruptions. Eddie O’Connell’s performance feels disinterested and wooden, and Patsy Kensit’s acting fails to elevate the film.

However, the film's redemption lies in David Bowie's appearance and his title song, "Absolute Beginners," which has achieved greater success than the film itself. The ensemble cast, a who's who of 1980s British music and light entertainment, essentially feels outdated. However, they contribute to the film's unique charm.

Despite its flaws, Absolute Beginners has a redeeming quality, mainly if one can separate the film from its literary origins. While it may not be a great film, it serves as a time capsule, capturing the spirit of the 1980s rather than the 1950s story setting.

If you were expecting a deep dive into moon landing conspiracies, Fly Me to the Moon will surprise you—in the best way possible. Despite the misleading trailers, this film is not a conspiracy thriller but an endearing romantic comedy that delivers plenty of laughs and clever period jokes.

Scarlett Johansson shines, bringing a delightful charm to her role that adds layers to the film. Her performance is the movie's heartbeat, making the romantic and humorous moments equally compelling.

Woody Harrelson gives a chillingly sinister performance, leaving viewers on edge. But what might be even more unsettling is Channing Tatum’s wardrobe choice—a vest under a knitted shirt—that will surely stick in your memory.

However, it’s disappointing to see Ray Romano relegated to a minor role that feels more like his character from Everybody Loves Raymond rather than showcasing the depth he displayed in The Irishman. His talent seems underutilised in a part that doesn’t match the film’s overall tone.

Overall, Fly Me to the Moon is an enjoyable romp filled with good humour and fun.