31st Jul2022

Minions: Rise of Gru – Film

by timbaros
MINIONS: THE RISE OF GRUThis summer, from the biggest global animated franchise in history, comes the origin story of how the world’s greatest supervillain first met his iconic Minions, forged cinema’s most despicable crew and faced off against the most unstoppable criminal force ever assembled in Minions: The Rise of Gru. 

Long before he becomes the master of evil, Gru (Oscar® nominee Steve Carell) is just a 12-year-old boy in 1970s suburbia, plotting to take over the world from his basement. 
It’s not going particularly well. When Gru crosses paths with the Minions, including Kevin, Stuart, Bob, and Otto—a new Minion sporting braces and a desperate need to please—this unexpected family joins forces. Together, they build their first lair, design their first weapons, and strive to execute their first missions. 
 
When the infamous supervillain supergroup, the Vicious 6, oust their leader—legendary martial arts fighter Wild Knuckles (Oscar® winner Alan Arkin)— Gru, their most devoted fanboy, interviews to become their newest member. The Vicious 6 is not impressed by the diminutive, wannabe villain, but then Gru outsmarts (and enrages) them, and he suddenly finds himself the mortal enemy of the apex of evil. With Gru on the run, the Minions attempt to master the art of kung fu to help save him, and Gru discovers that even bad guys need a little help from their friends. 

Featuring more spectacular action than any film in Illumination history and packed with the franchise’s signature subversive humor, Minions: The Rise of Gru stars a thrilling new cast, including, the Vicious 6: Taraji P. Henson as cool and confident leader Belle Bottom, whose chain belt doubles as a lethal disco-ball mace; Jean-Claude Van Damme as the nihilistic Jean Clawed, who’s armed (literally) with a giant robotic claw; Lucy Lawless as Nunchuck, whose traditional nun’s habit hides her deadly nun-chucks; Dolph Lundgren as Swedish roller-skate champion Svengeance, who dispenses his enemies with spin kicks from his spiked skates; and Danny Trejo as Stronghold, whose giant iron hands are both a menace to others and a burden to him. 
 
The film also stars Russell Brand as Young Dr. Nefario, an aspiring mad scientist, Michelle Yeoh as Master Chow, an acupuncturist with mad kung fu skills, and Oscar® winner Julie Andrews as Gru’s maddeningly self-absorbed mom.
 
Out in cinemas now.
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31st Jul2022

I Will Tell International Film Festival – Film

by timbaros

FinalLogo3.0-1

I Will Tell International Film Festival announced its return to London cinemas, with additional outdoor and virtual screenings of films from around the world including the UK, US, Canada, Iran, India, Ukraine, Trinidad and Tobago, Jamaica and Australia. The long running festival expands throughout London with screenings at venues across the city, including Prince Charles Cinema in Leister Square, The Tabernacle in Notting Hill and a special outdoor screening at Portobello Green, Notting Hill as part of Community Day, as well as offering virtual screenings via the Festival’s streaming platform, iwilltell.com/virtual.

The I Will Tell International Film Festival Opening Night Gala will be hosted by BFI Southbank on 7th July where the film CLOCK, a British urban coming of age story directed by Lola Atkins, will premiere. The film is led by an ethnically diverse, and predominately female, cast and crew and will set the for the festival’s 16th annual lineup. which includes inspirational untild stories from around the world.

Justin Johnson, Lead Programmer at BFI Southbank says, “We’re delighted to host the Opening Night of the I Will Tell International Film Festival at BFI Southbank this year and to be supporting director Lola Atkins and the cast and crew of CLOCK. We look forward to welcoming audiences to a Festival that has been working tirelessly to champion underrepresented filmmakers for more than 15 years”

CLOCK director Lola Atkins has stated, “I’m delighted that we have phenomenal platforms like I WILL TELL, which have deliberately chosen to be the voice and legs for those who have often not been included in the conversation.” She adds, “To be a part of the Opening Gala at the esteemed BFI Southbank, where many great works have graced the screens for an impeccable select few is an incredible opportunity.”

Ahead of its 16th edition, I WILL TELL International Film Festival founder, Jenny Lee, is challenging the film industry to better support greater inclusion and equality of ethnically diverse filmmakers within the industry. In the UK, more than 90% of films are distributed by a handful of distributors from a specific demographic with its own bias. “I Will Tell International Film Festival creates a space at the table to help adjust the current imbalance. It follows then that the festival would showcase the work of an exciting black female filmmaker alongside a Ukrainian epic,” says Lee.

For more information, please click here:
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31st Jul2022

London Indian Film Festival – Film

by timbaros

Little English-1World Premieres, In Conversations, Cutting edge documentaries, Acclaimed Directors, Retrospectives and Asian Music Events.

Supported by title sponsor Blue Orchid Hotels, Integrity International, the BFI (awarding National Lottery funding), Bagri Foundation and Arts Council of England, this year’s London Indian Film Festival (LIFF) spans 11 days from 23rd June – 3rd July. Selection of the programme will be available on BFI Player and the LoveLiffatHome Online Player/ 

LIFF opens on 23rd June with the World Premiere of DOBAARAA directed by the acclaimed director Anurag Kashyap and starring award winning actress Taapsee Pannu. The highly anticipated thriller is produced by Shobha Kapoor & Ektaa R Kapoor (Cult Movies, a new wing under Balaji Telefilms) and Sunir Kheterpal & Gaurav Bose (Athena). The Opening Night screening at BFI Southbank will be followed by a Q&A by Kashyap.

Female filmmakers are at the forefront of this year’s festival including the European premiere of THE RAPIST starring Konkana Sen Sharma and Arjun Rampal. The screening of the powerful, award winning film will be followed by a Q&A with its director Aparna Sen, India’s most prolific female filmmaker. Konkona Sen is also expected to be attending.  

Rebana Liz John’s documentary LADIES ONLY explores feminist themes through observing the female only compartments of Mumbai’s hectic trains.   

Among other U.K. premieres are Pan Nalin’s uplifting homage to celluloid CHELLO SHOW and Anik Dutta’s APARAJITOa tribute to legendary director Satyajit Ray’s journey of making his first film, the cult classic ‘Pather Panchali’. An intimate look at modern day Calcutta, ONCE UPON A TIME IN CALCUTTA by Aditya Vikram Sengupta also features in the festival line-up. Set against a score by Academy Award winning AR Rahman, who is also Executive Producer, NO LAND’S MAN stars Nawazuddin Siddiqui as a man dealing with the complexities of identity. Q&A by the film’s director Mostofa Sarwar Farooki follows the film’s premiere. 

Under the festival’s ‘Save the Planet’ strand, ecological and climate themes are explored in THE ROAD TO KUTHRIYAR, NO GROUND BENEATH MY FEET and HATIBONDHU. Among the films in the ‘Extraordinary lives strand are DUG DUG and PAKA: THE RIVER OF BLOOD.

The ‘Young Rebels’ strand includes GIRLS FOR FUTURE and THE VERY FISHY TRIP.  

Cultures collide in selections from the diaspora including British Indian comedy LITTLE ENGLISH, the Pakistani American film AMERICANISH from the US. Archival screenings include classic 1990s music documentary ASIAN VIBES LONDON & MUMBAI, plus a special screening of Richard Attenborough’s GANDHI celebrating the 40th anniversary of this multi Oscar winner.

Additional shorts categories include hit LGBTQIA+ programme Too Desi Too Queer, the films of Mumbai queer pioneer filmmaker Riyad Vinci Wadia, new British Asian emerging filmmakers and shorts competing in the festival’s annual Satayjit Ray Short Film Competition. 

Canadian Indian documentary SUPERFAN: THE NAV BHATIA STORY, uplifting tale on basketball team the Toronto Raptors greatest fan, closes the festival. 

LIFF has announced a new title sponsor – the Blue Orchid Hotels. With its excellent locations, exceptional standards and commitment to making a difference within communities, the partnership positively demonstrates the support of the arts by private business. The company also pursues a number of charitable endeavours, including raising awareness of child trafficking and women’s rights which are complementary to themes and causes that the festival also platforms. 

Participating Cinemas include: BFI Southbank, Barbican, Ciné Lumière, Rich Mix, Bertha DocHouse, Picturehouse Central, Picturehouse Stratford, Roof East Stratford, MAC Birmingham, Electric Birmingham, Birmingham City University, Everyman Manchester St John’s, Home Manchester & stream UK wide at www.LoveLIFFatHome.com

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31st Jul2022

Elvis – Film

by timbaros

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A description of the new film ‘Elvis’ can be summed up in two words – it’s fantastic, and Austin Butlers performance can be described as mesmerising. 
Butler becomes Elvis Presley in Baz Luhrmanns newly-released film on the trials and tribulations in the life of the king of rock who died at the young age of 42 in 1977.

Told through the eyes of Colonel Tom Parker (Tom Hanks in a performance that is a bit distracting from the main larger than life character) who micro-managed every bit of Presley’s career, right down to not allowing him to travel internationally (Parker emigrated illegally to the United States at the age of 20.) But while the film begins and ends with Parker, it’s really all about Austin – I mean Presley.

It’s really hard to distinguish Austin from Presley because Austin looks like, sounds like, and acts like Presley, it’s actually like Presley himself is starring in his own movie. And the scenes of Elvis on stage in Las Vegas will send chills down your spine as Austin nails down all of Elvis’s movements, right down to his swivelling hips (which was too racy for American television at that time that he was filmed above the waist).

We get to see Elvis’s close relationship with his mother Gladys(Helen Thomson), and his father (a one-note performance by Richard Roxburgh), to when he went into the army where in a television moment he got his hair cut, to meeting 16-year old Priscilla (Olivia DeJonge) – whom he went on to marry in 1967. Then we are treated to his Las Vegas years which are the highlight of the film where you’ll get goosebumps watching Butler swivel on stage – it’s almost too much for the heart to take.

Luhrmann throws us for a loop in his direction as one might be expecting a Moulon Rouge fantasy style musical but ‘Elvis’ is pure biographical and it’s showcase is Butler. While Hanks has star billing but might be playing a bit too over the top , Butlers performance is just about perfect – and literally a star is born where he is a shoo-in come awards season. 
And while the film is not 100% perfect, it’s a great tribute to Elvis.

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24th Apr2022

Red Rocket (Film)

by timbaros

Red-Rocket-film‘Red Rocket,’ written and directed by Sean Baker (‘Tangerine’, ‘The Florida Project’), is a major acting showcase for Simon Rex.

You might not have heard of him before, but Rex was famous for a minute when he was an MTV Veejay back in the 1990’s (Rex is also infamous for a porn video he did in the early 1990’s solely for the money he has said). Rex was also in a couple television shows and in the Scary Movie franchise. Moving to the California dessert in 2020 to be off the grid when roles, and jobs, dried up, and after many years of being multi hyphenate (actor, DJ, Rapper, sidekick to Charlie Sheen), Rex has been re-discovered and is just simply charming and superb in ‘Red Rocket.’
 
‘Red Rocket’ is a quirky and funny film about a broke former porn star Mikey ’Saber’ Davies who goes back home to Texas and to his ex-wife (Bree Elrod) and her mother (who both don’t want him) in the shadows of oil refineries, and on the cusp of Donald Trumps election as President. Mikey slowly starts falling for a local young girl named Strawberry (a fantastic Suzanna Son, in her first film role) who works at the local donut shop. He also has big dreams and an even bigger ego and thinks he can make Strawberry a porn star, and they plan to run off to Hollywood together, but of course with Mikey’s run of bad luck things don’t go according to plan. ‘Red Rocket’ is funny and tender, and mischievous (thanks to Mikey’s charm, aloofness, and a slight naivety that the world will take care of him).
 
‘Red Rocket’ is fantastic, and it’s all on the back of Rex’s performance. He’s just so adorable, and more important, very believable as Mikey. Director and writer Baker has done it again – his third film continues his string of excellent films that explores the inhabitants in America who struggle and get by on a dime and who exist on hopes and dreams. 
We can’t wait to see what Baker, and Rex, do to follow this up. ‘Red Rocket’ is just absolutely charming, and one of the best films of the year! 
Rex has won several awards for his performance, including Best Actor at the Independent Spirit Awards (Son was deservedly nominated for Best
Supporting Actress).
 
‘Red Rocket’ is now playing in UK cinemas.
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24th Apr2022

The Best Films of 2021

by timbaros
The Best Films of 2021:
The-Tragedy-of-Macbeth-BFI-London-Film-Festival-Highlights
1. The Tragedy of Macbeth
2. Dune
3. CODA
4. Flee
5. Red Rocket
6. Mass
7. Power of the Dog
8. House of Gucci
9. King Richard
10. Moffie
Decided on by a panel of actors, journalists and editors, including Tim Baros, David Galea, Ross Matthews and Joyce Most.
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27th Feb2022

Cyrano (Film)

by timbaros

01-3A new version of Cyrano hits the big screens this weekend, and it’s wonderful retelling of a very familiar story. 

Peter Dinklage is actually very fine as the Romeo who secretly loves Roxanne (Haley Bennett) but has to put up with, and feed lines to, Christian (Kelvin Harrison Jr. – who is not quite particularly good in this role).

Cyrano has been told and re-told many many times (there is also actually a hip hop version in the West End starring James McAvoy that is super fabulous), but this particular remake is magical, and I can’t quite put my finger on why. Perhaps it’s the lush cinematography and costumes, Roxannes innocence and beauty, the script that keeps the story light and lively, or the fantastic direction by Joe Wright. It could certainly be a combination of all these, but Cyrano is a winner of a film, and Dinklage (famous for his moody and serious roles including Game of Thrones) proves in this film that he can carry a movie, and as a romantic lead as well. Cyrano works, it really really works.

Cyrano is out now in UK cinemas. 

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21st Jan2022

The Tragedy of MacBeth (Film)

by timbaros
tragedy-of-macbeth-01

What can be billed as the best film of the year is a striking re-telling of William Shakespeare’s classic play – with an all star Oscar winning cast and director.

‘The Tragedy of Macbeth’ is already being billed as a classic. Telling the story of a once decent Scottish couple doing anything they can to dominate Scottish politics, and this includes murder if anyone stands in their way, it’s also the story or revenge, deceipt, and of course murder.

Denzel Washington is Macbeth while three-time Oscar winner Frances McDormand is Lady Macbeth. But it’s not the high powered performances in this film that stand out – it’s the story-telling and look of it that will take your breath away. Directed and written by Joel Coen (here without his brother Ethan – who together both helmed Oscar winning films ’No Country for Old Men’ and ‘Fargo’, among others), ‘The Tragedy of Macbeth’ is beautifully filmed in black and white, giving it an eerie and chilling look. Shadows, fog, mist, darkness, death, a barren set, questionable characters, and blood, convey the drama and intensity in this film, made all the more spectacular by the performance of Katherine Hunter who plays the three witches – she is superb and deserves an Oscar nomination.

There is no other film like this release in the past year that will leave such an impression on you – it’s mesmerizing and unforgettable.

“The Tragedy of Macbeth” is now playing in select theaters and will premiere globally on Apple TV+ on January 14, 2022


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15th Jan2022

Screen Actors Guild Film Nominations (Film)

by timbaros

House-of-Gucci-Succession-Ted-Lasso-Power-of-the-Dog-2

House of Gucci: MGM; Succession: HBO; Ted Lasso: Apple TV Plus; Power of the Dog: Netflix

 

Screen Actors Guild Nominations:

Outstanding Performance by a Female Actor in a Supporting Role

Caitríona Balfe (“Belfast”)  

Cate Blanchett (“Nightmare Alley”)  

Ariana DeBose (“West Side Story”)

Kirsten Dunst (“The Power of the Dog”)  

Ruth Negga (“Passing) 

Outstanding Performance by a Male Actor in a Supporting Role

Ben Affleck (“The Tender Bar”)  

Bradley Cooper (“Licorice Pizza”)  

Troy Kotsur (“CODA”)  

Jared Leto (“House of Gucci”)  

Kodi Smit-McPhee (“The Power of the Dog”) 

Outstanding Performance by a Female Actor in a Leading Role

Jessica Chastain (“The Eyes of Tammy Faye”)  

Olivia Colman (“The Lost Daughter”)  

Lady Gaga (“House of Gucci”) 

Jennifer Hudson (“Respect”)  

Nicole Kidman (“Being the Ricardos”)  

Outstanding Performance by a Male Actor in a Leading Role

Javier Bardem (“Being the Ricardos”)  

Benedict Cumberbatch (“The Power of the Dog”) 

Andrew Garfield (“Tick, Tick … Boom!”) 

Will Smith (“King Richard”)  

Denzel Washington (“The Tragedy of Macbeth”) 

Outstanding Performance by a Cast in a Motion Picture

“Belfast” (Focus Features)  

“CODA” (Apple Original Films) 

“Don’t Look Up” (Netflix)  

“House of Gucci” (MGM/United Artists Releasing)  

“King Richard” (Warner Bros)  

Outstanding Action Performance by a Stunt Ensemble in a Motion Picture

“Black Widow”

“Dune”

“The Matrix Resurrections”

“No Time to Die”

“Shang-Chi and the Legend of the Ten Rings”

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15th Jan2022

The 355 (Film)

by timbaros
(from left) Graciela (Penélope Cruz), Mason “Mace” Brown (Jessica Chastain), Marie (Diane Kruger) and Khadijah (Lupita Nyong'o) in The 355, co-written and directed by Simon Kinberg.

(from left) Graciela (Penélope Cruz), Mason “Mace” Brown (Jessica Chastain), Marie (Diane Kruger) and Khadijah (Lupita Nyong’o) in The 355, co-written and directed by Simon Kinberg.

The film ‘The 355′ has it all; huge stars, drama, action, adventure, an unlimited budget it appears. But all these factors combined can’t guarantee that a film will be great, and ‘The 355’ is not great – it’s disappointing.

 
Starring superstar actress Jessica Chastain, who also co-produced, with Oscar winners Lupita Nyong’o and Penelope Cruz, and acclaimed actress Diane Kruger, directed by the man behind ‘Deadpool’ and The X-Men movies,  ‘The 355’ (a code name given to a female spy in the revolutionary war) is NOT full of intrigue, espionage, and realistic scenes, and even the dream team of women actresses can’t save this film.
 
From dramatic and glamorous locations such as Morocco, Paris, and London where the women get to attend diamond studded parties, meeting rich and powerful men, all for the sake of saving the world from doom and destruction (there’s no need to delve deeper into the plot because there really isn’t one). And it’s 500% unbelievable that these women can take down dozens and dozens of men who work for the bad guys (the male body count in this film easily surpasses 100). But it’s only when Bingbing Fan joins the female gang that the film starts to look promising. She’s the daughter of an extremely wealthy man and tricks the bad guys by stealing ‘the secret weapon’, but somehow she gets cajoled into fighting the bad guys by joining the gang of women who have the fighting skills of superheroes! The women, all from different backgrounds and nationalities, all conveniently come together to fight evil, but what they are really fighting is to make us suspend disbelief. It doesn’t work. 
 
The jet-setting film highlights the talents of the eclectic mix of the female characters. As a collective, they are smart, savvy, and when necessary, lethal. Together, they are unstoppable, but they can’t make up for the fake-looking fight scenes, the ridiculous plot, and an ending that, if you make it that far, will leave you scratching your head. 
‘The 355’ is now in cinemas worldwide.
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09th Jan2022

Ailey (Film)

by timbaros

AILEY-A-film-by-Jamila-WignerAlvin Ailey was a trailblazer in the world of dance. He was one, if not the first, black man to establish a dance troupe – the Alvin Ailey Dance Theatre. They toured all over the world to universal acclaim, and Ailey’s name became synonymous with dance. The new documentary ‘Ailey’ tells his story.

Ailey, by all appearances from the documentary, was an introvert, unassuming and a not very confident man. Perhaps it was because of his upbringing. He was born in Texas and abandoned by his father when he was three and was shepherded and protected by his mother, a figure whom he would be very close to all his life. But he found his calling in the dance world, and after him and his mother moved to Los Angeles when he was ten, this move exposed him to culture that Los Angeles offered. And then at the age of 27, he founded the Alvin Ailey American Dance Theatre in New York City (he moved there in 1954), a dance company that broke new ground and offered Ailey’s vision of dance so unlike any others. Ailey was on top of the world, though he had demons, and was diagnosed as a manic depressive, and suffered a mental breakdown in 1980, and while gay, never really had a proper relationship. Then Ailey, like most creative men in large city centers in the 1980’s, caught HIV and died at the age 58 of the AIDS in 1989.

Like Ailey the man, the documentary ‘Ailey’ is restrained and reserved. Sure, we are shown archival footage of his shows, and former members of his dance troupe talk about him and his legacy (one said that ’the history of Ailey is off the scale”), but I was left for wanting more from it’s short 95 minute running time. Voiceover of Ailey of a previous interview he gave is peppered throughout (thankfully with subtitles as it is hard to hear). However, it’s exciting in the documentary to see modern day dancers rehearsing for the 60th anniversary show of the founding of Alvin Ailey Dance Theatre – their enthusiasm, energy, drive and youth brings a much needed bounce to this documentary.

AILEY – released in cinemas and on demand on 7th January, 2022.

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28th Dec2021

42nd London Critics’ Circle Film Awards Nominations (Film)

by timbaros

108_4184_d023_002611_gu46w2x6mz-1The UK’s leading film critics have unveiled the nominations for the 42nd annual London Critics’ Circle Film Awards, with three films from female filmmakers coming out on top. Leading the field is veteran director Jane Campion’s psychological western The Power of the Dog, which scored nine nominations. Next, with six and five nominations respectively, are first-time director Maggie Gyllenhaal’s Elena Ferrante adaptation The Lost Daughter and British auteur Joanna Hogg’s cine-memoir The Souvenir Part II.

More than 180 critics across print, online and broadcast media voted for this year’s nominations, which were announced by British actors Joanna Vanderham and Gwilym Lee this afternoon at London’s May Fair Hotel. The May Fair will also host the Circle’s awards ceremony, where the winners will be announced on 6th February 2022. 

After winning the Circle’s Film of the Year award 28 years ago for The Piano, Campion is up for Film, Director and Screenwriter of the Year, while her film’s stars Benedict Cumberbatch, Kirsten Dunst, Kodi Smit-McPhee and Jesse Plemons are all nominated. Hogg is another returning winner, having taken the British/Irish Film of the Year prize for the first part of The Souvenir two years ago.

Joining them and The Lost Daughter in a wide-ranging Film of the Year field are Ryûsuke Hamaguchi’s complex character study Drive My Car, Kenneth Branagh’s autobiographical drama Belfast and Steven Spielberg’s musical reinterpretationWest Side Story, which scored four nominations apiece, as well as Denis Villeneuve’s sci-fi epic Dune, Paul Thomas Anderson’s coming-of-age tale Licorice Pizza, Apichatpong Weerasethakul’s meditative Memoria and Julia Ducournau’s body-horror explosion Titane.

Actors with multiple nominations include Cumberbatch, Ruth Negga, Joanna Scanlan, Andrew Garfield and The Lost Daughter stars Olivia Colman and Jessie Buckley — all cited in both the general and British/Irish acting races. Japanese writer-director Hamaguchi, meanwhile, is the year’s most-nominated individual, contending for Film, Director, Screenwriter and Foreign Language Film of the Year.

“Even though cinemas were closed for half of this year, our members were always watching films,” says Rich Cline, chair of the Critics’ Circle Film Section. “On the nominations ballots, voters named 204 feature films, with 51 of them making it onto the shortlists. Because our members see so many movies, our nominations tend to look a bit different from other groups, finding a diverse selection of worthy talent in studio blockbusters as well as low-budget indies.”

Last year’s virtual Critics’ Circle Film Awards ceremony was also dominated by female filmmakers, with Chlo
é Zhao’s Nomadland and Rose Glass’ Saint Maudtaking three awards apiece, including Film of the Year and British/Irish Film of the Year respectively.

The full list of nominees for the 42nd London Critics’ Circle Film Awards:

FILM OF THE YEAR
Belfast
Drive My Car
Dune
Licorice Pizza
The Lost Daughter
Memoria
The Power of the Dog
The Souvenir Part II
Titane
West Side Story

FOREIGN LANGUAGE FILM OF THE YEAR
Drive My Car
The Hand of God
Petite Maman
Titane
The Worst Person in the World

DOCUMENTARY OF THE YEAR
Flee
Gunda
The Most Beautiful Boy in the World
Summer of Soul
The Velvet Underground

The Attenborough Award
BRITISH/IRISH FILM OF THE YEAR
After Love
Belfast
The Green Knight
Limbo
The Souvenir Part II

DIRECTOR OF THE YEAR
Jane Campion – The Power of the Dog
Ryûsuke Hamaguchi – Drive My Car
Joanna Hogg – The Souvenir Part II
Céline Sciamma – Petite Maman
Denis Villeneuve – Dune

SCREENWRITER OF THE YEAR
Paul Thomas Anderson – Licorice Pizza
Wes Anderson – The French Dispatch
Jane Campion – The Power of the Dog
Maggie Gyllenhaal – The Lost Daughter
Ryûsuke Hamaguchi and Takamasa Oe – Drive My Car

ACTRESS OF THE YEAR
Olivia Colman – The Lost Daughter
Pen
élope Cruz – Parallel Mothers
Renate Reinsve – The Worst Person in the World
Joanna Scanlan – After Love
Kri
sten Stewart – Spencer

ACTOR OF THE YEAR
Benedict Cumberbatch – The Power of the Dog
Adam Driver – Annette
Andrew Garfield – Tick, Tick… Boom!
Oscar Isaac – The Card Counter
Daniel Kaluuya – Judas and the Black Messiah

SUPPORTING ACTRESS OF THE YEAR
Jessie Buckley – The Lost Daughter
Ariana DeBose – West Side Story
Kirsten Dunst – The Power of the Dog
Rita Moreno – West Side Story
Ruth Negga – Passing

SUPPORTING ACTOR OF THE YEAR
Richard Ayoade – The Souvenir Part II
Ciarán Hinds – Belfast
Jesse Plemons – The Power of the Dog
Kodi Smit-McPhee – The Power of the Dog
Jeffrey Wright – The French Dispatch

BRITISH/IRISH ACTRESS OF THE YEAR (for body of work)
Jessie Buckley – The Lost Daughter
Olivia Colman – The Lost Daughter/Mothering Sunday/Ron’s Gone Wrong/
          The Mitchells vs The Machines/The Electrical Life of Louis Wain
Ruth Negga – Passing/Poly Styrene: I Am a Clich
é
Joanna Scanlan – After Love
Tilda Swinton – Memoria/The Souvenir Part II/The French Dispatch

BRITISH/IRISH ACTOR OF THE YEAR (for body of work)
Riz Ahmed – Encounter
Adeel Akhtar – Ali & Ava/The Nest/The Electrical Life of Louis Wain/
          Everybody’s Talking About 
Jamie
Benedict Cumberbatch – The Power of the Dog/
          The Electrical Life of Louis Wain/The Courier
Andrew Garfield – Tick, Tick… Boom!/The Eyes of Tammy Faye/Mainstream
Stephen Graham – Boiling Point/Venom: Let There Be Carnage

The Philip French Award
BREAKTHROUGH BRITISH/IRISH FILMMAKER
Prano BaileyBond – Censor
Rebecca Hall – Passing
Aleem Khan – After Love
Marley Morrison – Sweetheart
Ben Sharrock
 – Limbo

YOUNG BRITISH/IRISH PERFORMER
Max Harwood – Everybody’s Talking About Jamie
Jude Hill – Belfast
Emilia Jones – Coda
Daniel Lamont – Nowhere Special
Woody Norman – C’mon C’mon

BRITISH/IRISH SHORT FILM
Diseased and Disorderly – dir. Andrew Kotting
Expensive Shit – dir.
 Adura Onashile
Know the Grass – dir. Sophie Littman
Play It Safe – dir. Mitch Kalisa
Precious Hair & Beauty – dir. John Ogunmuyiwa

TECHNICAL ACHIEVEMENT AWARD
Cruella – Jenny Beavan, costumes
Dune – Paul Lambert, Tristan Myles, Brian Connor and Gerd Nefzer, visual effects
Flee – Kenneth Ladekjær, animation
The French Dispatch – Adam Stockhausen, production design
The Green Knight – Andrew Droz Palermo, cinematography
The Invisible Life of Euridice Gusm
ão – Hélène Louvart, cinematography
Martin Eden – Fabrizio Federico 
and Aline Hervé, film editing
No Time to Die – Olivier Schneider, stunts
The Power of the Dog – Jonny Greenwood, music
West Side Story – Justin Peck, choreography

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28th Dec2021

BFI London Film Festival – Highlights

by timbaros
tragedy-of-macbeth-01
The BFI London Film Festival proved once again that it’s one of the best by showing eclectic, important and interesting films during its ten day run. Live film screenings, events, talks and glamorous star-studded film premieres made it the talk of the town. Here are some of the film highlights:
The Tragedy of Macbeth:
There are no words to describe this film. Sure, this film stars multiple Oscar winners Denzel Washington and Frances McDormand, is directed by Joel Cohen (MacDormand’s long term husband and brother of Ethan – who together made The Big Lewbowski, No Country for Old Men, Inside Llewyn Davis, and more), and is based on Shakespeare’s iconic and much adapted work of art. But The Tragedy of Macbeth is bigger than the sum of its parts. It’s indescribably stunning and powerful, and filmed in black & white which gives it an eerie tone, and was by far the best film of the festival, and is perhaps the best film of the year. All the performances stand out (including Kathryn Hunter’s witch), and The Tragedy of Macbeth will be remembered many many years from now.
 
Mothering Sunday:
A very quiet film that made a big impact when it was shown. The world of wealth and privilege interspersed with the less so has Josh O’Connor having an affair with a maid (played by Chelsea Young) in 1920’s England. Directed by Eva Hudson, every shot, every scene, every moment is captured slowly, succinctly and lovingly. It is a beautiful film on every level.
Red Rocket:
Sean Baker, the director who gave us the wonderful mobile phone film ’Tangerine’ (2015) returns with a quirky and funny film about a broke former porn star (Simon Rex – an actual former porn star), who goes to Texas to live with his ex-wife (Bree Elrod) and her mother in the shadow of a local power plant. He slowly starts falling for a young girl (a fantastic Suzanna Son) who works at the local donut shop. Funny and tender, with a slice of mischief (thanks to Rex’s charm and aloofness) made Red Rocket one of the favorites of the festival.
Munich – Edge of War:
This WWI film tells a bit of the story of the Munich Agreement with a young civil servant (George MacKay) who gets reconnected with an estranged college friend to overturn Hitler before it is too late. A great turn by Jeremy Irons as Prime Minister Neville Chamberlain makes this film taut and nail-biting, and the period details are superb.
Last Night in Soho:
Matt Smith and Anya Taylor-Joy star in this film that is so unlike what you would expect it to be. Young woman Eloise (Thomasin McKenzie) arrives in London to start college, fresh and innocent, and is taken in by an elderly women (the late Diana Rigg in her last screen role) who harbours very dark secrets. Horror, fantasy and mystery are blended in together for a scary and bumpy ride. Directed by Edgar Wright (Ant-Man, Hot Fuzz).
Benediction: 
A great Jack Lowden plays an WWI army deserter who is sent to a mental hospital to get treatment for an illness he doesn’t have. He’s gay, and falls into a series of affairs, some serious and some not. Actual scenes of WWI are interspersed throughout the film hitting home the hard facts that millions of soldiers died during the war. Based on the life of poet Siegfried Sassoon, directed by Terence Davies. Peter Capaldi plays the unhappy, bitter Sassoon late in his life who ended up marrying a woman and having a child together.
Belfast:
Kenneth Branagh’s ode to his own childhood living in Belfast in the 1960’s is stolen by the delicate performance of 5-year old Jude Hill who is in practically in every scene of the film. He is the son to Caitronia Balfe and Jamie Dornan where they struggle to survive in a city that is constantly in conflict between the catholics and the protestants. At only 98 minutes, this film is marred by Irish accents so thick subtitles are needed, and the riot scenes look staged. Balfe is terrific as the tormented wife, and Judi Dench delicately plays little Hill’s grandmother.
Benedetta:
If you plan to watch any nun lesbian film this year, this is the one to watch. Directed by the controversial Paul Verhoeven (Robocop and Basic Instinct), it is based on a true story about Sister Benedetta Carlini. It’s early1600’s Florence when sister Benedetta arrives at a convent, and then enters into a powerplay with the head sister (a great Charlotte Rampling), while an alluring sexy local woman (Daphne Patakia) is taken in who then seduces Benedetta, but with devastating results that turns the convent, and the city, into a tizzy. Funny and surreal.
Ali & Ava:
British made film that charts an unlikely romance between two people from different walks of like – a romance where society tells them that it is not ok. Claire Rushbrook is a middle-aged Irish teaching assistant and newcomer Adeel Akhtar is newly-single British Pakistani landlord who are both totally believable as the couple who meet and gradually fall in love in a romance that slowly blossoms over time. Clio Barnard delicately wrote and directed this film.
Quant:
Excellent documentary of the fashion designer Mary Quant directed by actress Sadie Frost who shows us the importance of Quant’s influence in fashion as a female business pioneer and her influence on the fashion scene back in the 1960’s when Chelsea was the place to be for fashion.  Quant is still alive today – a vibrant 92 year-old.
True Things:
Powerful performances make True Things on the must watch list. Ruth Wilson (as Kate) works in a job centre mechanically doing her job when one day she has a client who more than takes her fancy – an ex-prisoner – Blond (Tom Burke). They start dating, against the rules of her job, and it’s a volatile relationship. Her friends and family are very protective of her, yet Kate keeps falling deeper and deeper for Blond.
Two Friends:
Great performances by child actors (and brothers) Asik Shaikh and Arik Shaikh who play neighbors in a remote village in West Bengal. They are close friends, share a tutor, and can see into each others yards in between the bamboo fence that separates their homes. At close to two hours, the film never drags, thanks to the authentic performances and beautiful direction by Prasun Chatterjee. Two Friends is a simple moving tale of what it means to have a best friend when you are young. Highly recommended.
Flee:
This animated film/documentay tells about the struggles of Afghani Amin, who is about to marry a Danish man, while he struggles with the life he left behind back home – the struggles he endured growing up gay in a volatile and unaccepting society. The animation is amazing, and the story even more so. Winner of the World Cinema Grand Jury Prize for Documentary at the Sundance Film Festival.
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31st Jul2021

The Most Beautiful Boy in the World (Film)

by timbaros
Bjorn_Andresen_at_lido_beach_venice_Copyright_MantarayFilm_20212642Björn Andrésen was a fifteen-year old Swedish teenager who was plucked from obscurity to star in filmmaker Luchino Visconti’s 1971 film ‘Death in Venice.’ The new fascinating documentary ’The Most Beautiful Boy in the World’ tells Andrésen’s meteoric rise to stardom and, 50 years later, his life in his older years which is a far cry from the red carpets and film premieres of his youth.
In 1970 filmmaker Visconti travelled throughout Europe looking for the perfect boy to personify absolute beauty in his adaptation for the screen of ‘Death in Venice.’ In Stockholm, he discovered shy 15 year old Andrésen. Actual footage of Visconti (who was openly gay) shows how mesmerized Visconti was when he initially saw Andrésen at an open casting call, and how young and timid, and disturbed Andrésen was at that time – he was a child when his mother was found dead in a field, leaving him and his sister to be raised by their grandmother. And when Andrésen was actually cast in ‘Death in Venice,’ his grandmother practically released him into the care of Visconti, who whisked Andrésen off to film the movie in Venice, and then to premieres, red carpets and parties galore, displaying him like a trophy, to the envy of Visconti’s gay friends, and with what seems not a care about Andrésen’s future or welfare.  
 
Fast forward to present day and Andrésen is living in a filthy flat in an industrial block in Stockholm, and is in his mid-60’s (he looks a lot older), and doesn’t quite have it all together. His girlfriend at that time helps him clean up his flat before a visit by the council, who are concerned that Andrésen is leaving the gas on. But we learn more tragedy Andrésen has faced in his lifetime; he lost a baby son to sudden infant death syndrome which sent him into a long depression, and which it appears he never really got over.
 
Fifty years after the premiere of ‘Death in Venice’, directors and writers Kristina Lindström and Kristian Petri take us on Anderson’s remarkable journey of his life – a life of cinema history, stardust and tragedy. 
 
‘The Most Beautiful Boy in the World’ is released in UK / Irish cinemas 30th July.
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