Tom Charity’s take on the film in our January 2020 issue
#Best movie websites april 2019 movie
And while The Irishman has naturally been seen as a continuation of Scorsese’s mob movies, it’s just as important to see it in the context of his films about religious belief… going right back to Mean Streets, Charlie holding his finger over a naked flame: “You don’t fuck around with the Infinite.” I can’t think of another Scorsese movie so steeped in pain and regret, save for The Age of Innocence (1993), and De Niro’s playing in certain scenes is as wrenching, nuanced and perfectly calibrated as anything he has ever shown us.” “Fascinating as this conspiratorial political saga may be, the movie’s spiritual journey is what hits hardest. Where to see it: On DVD, Blu-ray and digital platforms from 9 December.įurther reading: Once Upon a Time… in Hollywood review: Quentin Tarantino unleashes his nostalgic fetishesĪ triumphant, decades-spanning mobster epic that centres around Frank Sheeran (Robert De Niro), the man who in this telling shot union boss Jimmy Hoffa, is both a richly elegiac account of the true toll of a life of violence, and thrilling evidence of the late style of a master director. Nick Pinkerton’s take on the film in our January 2020 issue Even the film’s climactic bloodbath feels like a long, smooth exhale…” “Does this one feel less pushy of Tarantino’s overbearing talent because any evidence of an authorial personality at all is refreshing in the corporatised Hollywood of 2019? Maybe, but then, too, Tarantino has never managed a film as relaxed as this one, channelling the amiable, lackadaisical pacing of Rio Bravo and the Los Angeles drive-time dead-air of Jacques Demy’s Model Shop, all while never stiffening into rictus-like homage. Where to see it: Released on DVD and Blu-ray on 13 January.įurther reading: Pain & Glory review: Pedro Almodóvar makes an art form out of reminiscenceĪ luminous meta-western that sees Leonardo DiCaprio and Brad Pitt play a fading star and his stunt double whose rambling exploits in late-1960s Hollywood run into real-life tragedy when they cross paths with Sharon Tate and the Manson family. Maria Delgado, talking to Pedro Almodóvar, in our January 2020 issue “Almodóvar remains one of the most distinctive filmmakers of the past 50 years and Pain and Glory, perhaps more than any of his earlier films, offers insights into a passion for cinema – ‘I cannot imagine not making films’ – that has shaped his entire body of work.” And that is something present-day spectators are not used to.’ As a director, it’s a wonderful feeling, and I believe it’s down to me displaying a more direct, humble and intimate part of myself in the film. ‘In the case of Pain and Glory, the viewer leaves moved or, more accurately, transfixed, at a loss for words.
“‘The reason why a film makes such an intimate connection with an audience is always a mystery,’ Almodóvar told me when I told him his film had made S&S’s top ten poll. In this reflective feature Almodóvar finds an avatar in Antonio Banderas, who gives a terrific performance as a director at the end of his career looking back on his life with the help of the occasional narcotic high – although the film is as much about Spanish politics as it is about his life and work.
Where to see it: Still in select cinemas around the UK, Bait is now on available on BFI DVD and Blu-ray, as well as to stream on BFI Player.įurther reading: Bait first look: Mark Jenkin heralds the new weird Britain Mark Jenkin, talking to James Bell in our January 2020 issue Ultimately, I think the success of Bait has to do with how specific it is, how it’s set in a place I really understand but taps into a universal feeling of unrest.” But it’s resonated wherever I’ve gone with it, which given the subject matter is also a bit of a depressing thought – that alienation through gentrification is so universal. “When I started making the film I imagined it as a story about a very specific part of Cornwall – I worried even that people from other parts of Cornwall might not get it. I do pinch myself I sometimes imagine I’m going to wake up and it turns out I fell down some stairs after a disastrous Berlin premiere and this has all been a self-indulgent fantasy. “Somewhere within you, you have to believe that there will be an audience for your work, but the nature of the film industry is such that so many great films slip the net, so I feel incredibly blessed that it’s had the response that it’s had.
Jenkin’s brilliantly original, hand-cranked black-and-white 16mm feature debut centres on the tension between a Cornish fishing community and the holidaymakers gentrifying their village, and proved a commercial as well as a critical hit.
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