Film reviews part 29 (in order of viewing)

Vermiglio (2024). 26.7.26. During the first half of the film I expected to dislike it, being not much more than a series of “pretty pictures”; but as the characters and situations they were in became more defined, things took a turn for the better, and by the end it became quite engrossing. It also had – for me at least - a poignant “aftertaste”. 8/10

Midnight run (1988). 4.8.26. A completely mainstream popcorn film for the cinema with a very good (deep but understated) performance from De Niro. One’s interest starts to wane in the second half with increasingly unlikely and contrived situations, but it’s arguably not meant to be realistic. 7/10

Three days of the condor (1975). 6&7.8.26. The intricacies of the plot are often unclear which is a big flaw. And the dialogue is too stylised for my taste. Definitely watchable however due to the pacy direction. 6/10

Imitation of life (1959). 12.8.26. It’s a shame that a story and three-dimensional characterisation of this quality was subjected, or had to be subjected, to the limitations of 1950s-style film-making, notably the hammy acting and over-styled “Eastmancolor”. Lana Turner is the most assured actor in it, but even she struggles to do her character justice. This would probably have been a really excellent and groundbreaking film in its day, but a more naturalistic remake is needed. 7½/10

Hail the conquering hero (1944). 14.8.26. Slightly more naturalistically-directed than the film above, despite being made 15 years earlier and despite having a comedic plot which is not meant to be taken seriously. Silly, but good fun. 7½/10

All about Eve (1950). 19.8.26. This would clearly have been the one to watch in 1950: filled with contemporaneous references to the hottest stars and directors of the day and with sparkling and sophisticated wit throughout. Today it still holds up well, although Bette Davis’ melancholia gets slightly tiresome. The main theme (women’s anxiety about aging) is remarkably similar to that of Sunset Boulevard, made in the same year, although this film is arguably the more dynamic. Excellent final shot. 8/10

The shape of water (2017). 21-23.8.26. I am not usually a fan of anything supernatural but, as long as you accept the premise, it doesn’t mar the film in any way. What did mar the film (for me) was the modern, superficially appealing impressionistic cinematography, and the rather trite dialogue and characters. Zelda especially was a stereotype. It won the Best Film Oscar perhaps because it captured the zeitgeist, but this is no imaginative and enduring classic. 6½/10

On falling (2024). 14.9.26. An inferior imitation of the Ken Loach / Paul Laverty style; not nearly as imaginative and visceral though, and too meandering. 7/10

Amacord (1973). 28&29.9.26. Essentially a collection of semi-comedic vignettes featuring simple and slightly eccentric characters in an Italian village (especially a dysfunctional family). Very well-received both now and at the time of release by the critics, but modern audiences would likely be bemused. 6½/10

Hilary and Jackie (1998). 7.10.26. This was unfortunately a second-rate production: sketchy and a bit TV movie-ish, despite always being quite engaging. 7/10

I also started watching the following films, but they didn't interest me enough to keep watching.

Two mules for Sister Sara (1970). 27.7.26. Watched half.

Monster (2023). 10.9.26. Watched half.

Film reviews part 28 (in order of viewing)

Sunset boulevard (1950). 3&4.4.26. Getting Cecil B DeMille to play himself in a not insignificant role must have given the film a lot of attention and it’s certainly still worth watching, but is not head-and-shoulders above other films of its time. Norma Desmond gets quite tedious.... 7½/10

Speed (1994). 6.4.26. The ultimate thrills and spills movie, it keeps the audience on edge as well as the passengers, with a smart final third taking the action off the roads. Straight escapism and just the right side of preposterous, although personally I would not be laughing and cheering at every small challenge overcome if I’d been on the bus! 8/10

Sightseers (2012). 19.4.26. Black comedy of the Shaun of the Dead tradition, with some Nuts in May and generic road trip elements mixed in. All good fun with a few instances of gratuitous scatology and borderline bad taste. Her mother is a hoot and has the very best lines. 7½/10

Destry rides again (1939). 23.4.26. A winning Western with some great comic dialogue, although the resolution could have been cleverer and more in accordance with the hero’s principles. 7½/10

French Connection II (1975). 24&25.4.26. A little *too* raw for my liking (despite being partial to gritty 1970s thrillers). Doyle’s xenophobia was slightly ridiculous and the cold turkey scenes a bit OTT / something of a self-conscious showcase for Hackman. Because of its unpolished nature the film was occasionally difficult to follow (especially dialogue), and I didn’t like Henri, the French detective. Despite all this, the authentic atmosphere keeps the viewer hooked. The film is unusual for having absolutely no epilogue. 7/10

The school of rock (2003). 12.5.26. This is flawless for the type of film it is. The laughs come thick and fast, and it neither puts a foot wrong nor outstays its welcome. Written by the future writer of the White Lotus (Mike White), who also seems to enjoy being a rubbish actor! 9/10

Mona Lisa (1986). 13.5.26. A very eighties film which doesn’t pass muster in today’s more sophisticated age. The dialogue in particular is poor, and the storyline is tepid despite early promise. A certain vibrancy and watchability keeps it from getting a lower score. 6/10

Two-way stretch (1960). 20&21.5.26. An understated performance from Peter Sellers, a few years before his first appearance as Clouseau, helps along this very enjoyable comedy-drama, which never gets too broad or farcical. Lionel Jeffries as Kraut is also superb. 9/10

The guard (2011). 23.5.26. Fresh and original. 7½/10

My favourite cake (2024). 2.6.26. A film like a comfy pillow. Great performances from the two leads. 7½/10

Film reviews part 27 (in order of viewing)

Lollipop (2024). 20.1.26. Another very good kitchen-sink, Ken Loach-style British film with an authentic - if uninspired - script and unknown actors performing magnificently. Tegan-Mia Stanley Rhoads as the daughter Ava was especially convincing. 7½/10

Souvenir Part II (2021). 24&27.1.26. The same wonderfully naturalistic performances and dialogue as in the first film. One might need a little imagination to analyse the main theme (I’ve analysed it to my own satisfaction). I think that many people will criticise the film as boring or pretentious but I don’t think it is at all. 8½/10

Saint-Omer (2022). 29.1.26. Elegantly done and well worth watching. The courtroom scenes are never tiring despite taking up a large proportion of the film (although I generally enjoy courtroom dramas anyway). The relationship between Laurence’s mother and Rama could have been better-developed; there seemed nothing to be drawn from it. 7½/10

The adventures of Priscilla, queen of the desert (1994). 3.2.26. I found it hard to really care about these characters, none of whom was particularly likeable. Still less to care about their relationships with each other. The characters and situations they meet along the way did nothing for me either! The sheer spirit / exuberance of the film carries one along however. 6½/10

Modern times (1936). 7?.2.26. The slapstick is very slightly tiresome at times, but on the whole this semi-silent comedy is literate, clever, good fun and an easy watch. Excellent picture quality too. 7/10 (for today’s audiences).

One battle after the other (2025). CINEMA. 10.2.26. Some of the comedic elements are a little crude (in the broad sense) and, to my surprise, the film generally is more pulpy and escapist than I would have imagined from the writer / director of There will be blood (but probably that’s the type of movie he wanted to set out to do and I don’t know most of his other work). So a bit too James Bond-ish / car-chasey / mainstream-audience-pleasing for my liking and the ending scene felt a bit insipid. Overall, despite no shortage of oomph and originality, I’m a little surprised the film has been so loved by so many of the more sensible critics. Postscript: Kyle Smith of The Wall Street Journal notes that “the reach is evident but the grasp is a little shaky”. Yes. 7½/10

The taste of things (2023). 17&18.2.26. Never has watching cooking been so aesthetically pleasing. Nothing much happens but the joy comes from vicariously living in that time and with those people, all of whom are resolutely happy, good-humoured and good-natured. The human relationships are as harmonious as the ingredients in the wonderful dishes. And somehow that doesn’t seem unrealistic. I wouldn’t usually give such an ostensibly slight film such a high score, but because of its sheer charm it deserves it. Postscript: I like this quote from RogerEbert.com: “the film "achieved...a delicate balance" that "feels like a magic trick”".8/10

In a lonely place (1950). 6&7.3.26. A film about a film scriptwriter. Centred around Bogart’s charisma, it doesn’t quite come off despite some quite sharp dialogue. Gloria Grahame’s eyebrow-raising performance feels especially hackneyed. More naturalistic directing could have made this much better. Postscript: Gloria Grahame’s performance is “unanimously” praised according to Wikipedia, and the film itself highly critically acclaimed, so I’m very much in the minority here. 6½/10

American fiction (2023). 22.3.26. I didn’t like this. The writing and directing felt tepid and uninspired / clichéd despite an excellent premise. Maybe the writer was playing a joke on the critics in the same way as in the film! 6½/10

La chimera (2023). 24&25.3.26. A very charming oddity. What struck me was just how real and how 1980s the film felt. More could have been made of The Englishman and, ironically, perhaps Josh O’Connor (or at least his character) was the weakest link. 7½/10

I also started watching the following film, but it didn't interest me enough to keep watching.

10 things I hate about you (1999). 18.2.26. Watched first hour.

Film reviews part 26 (in order of viewing)

T2 Trainspotting (2017). 12.11.25. Spoilt by the constant self-conscious references to the first (classic) film, and the first half was significantly better than the second. Despite this, and the female cardboard cut-outs, there is lots to enjoy, and the collage of the primary schoolboys playing football (“A perfect day”) is inspired. 7/10

A thousand and one (2023). 19.11.25. Anchored by an electric central performance by Teyana Taylor: an unchanging character in a city rapidly “cleaning itself up” (aka undergoing a form of ethnic cleansing in which poor people / ex-cons are not tolerated). Well-paced, with a streak of originality and a lot of heart. A neat little twist near the end. Recommended. 8/10

Wagon master (1950). 25.11.25. No-frills, entertaining ‘road trip’ Western. 7/10

Suspicion (1941). 2.12.25. A light and breezy first half, then progressively more claustrophobic. Cary Grant seems completely miscast as the mysterious husband (with barely changing facial expressions, he seems more like a mannequin than a flesh and blood man, although was that Hitchcock’s intention?), and the final third seems rushed - especially the finale itself, which feels sloppy (but typical of films of that era). A fine film despite these flaws, and Joan Fontaine shines. [After writing this, I see that JF won the Best Actress Oscar for her performance.] 8/10

Curse of the cat people (1944). 10.12.25. This works - surprisingly - both as a children’s film and intelligent adults’ film. Each group would arguably get something different out of it. The child actress is delightful and upstages most of the adults. The short length helps make it punchy and involving throughout. Charm galore, and worth watching. Note: I did not watch the prequel Cat People before seeing this film, and intend to do so at a later date. 8/10

3 faces (2018). 17&18.12.25. A drama, but with the actors and director playing themselves. A sort of road trip film with a hypnotising quality. Watching the photography and hearing the dialogue really makes one want to go to Iran. 7½/10

The holdovers (2023). 22.12.25. Hollywood, yes, clichéd schmaltz at times, yes, but also awash with genuine charm, warm-heartedness and subtlety. This will be a classic Christmas film. 8/10

Sentimental value (2025). 13.1.26. CINEMA. An acting masterclass from the three leads and full of poignant, moving scenes in the most subtle and least contrived way possible. It felt a touch listless and heavy-going in the second half and the thematic whole takes a little thought to fully ‘get’ (although the latter issue is not really a flaw). I now see that the actress playing Nora played the lead role in The Worst Person in the World (which I described in my review of that film as an astonishing portrayal). 8/10 

The damned don’t cry (2022). 15.1.26. Enhanced by a brilliant performance from non-professional Aicha Tebbae, this is well worth a watch despite seeming a touch muddled at times, and a rather contrived ending. 7½/10

Marty Supreme (2025). 16.1.26. CINEMA. A very good, powerful, intense film. The 1950s New York characters and setting seemed very authentic, and Chalamet is brilliant as are the supporting cast. One or two things didn’t quite make sense to me, either because I missed a line or two due to the music overlapping the dialogue, the film simply wasn’t clear, or I’m a bit slow! The ending too could have been a bit more cleverly thought out. Overall though a fine piece of work. 8/10

I also started watching the following films, but they didn't interest me enough to keep watching.

Godland (2022). 17&18.11.25. Watched half.

Benediction (2021). 26.11.25. Watched half.

Oppenheimer (2023). 11.1.26. Watched the first 34 minutes only. It feels like an extended trailer, a dialogue of soundbites vying for attention with stupid incidental music. A similar directorial style to JFK or Dunkirk: I now see that the latter film is by the same director (I am blissfully ignorant of very modern films). It might have become more watchable, but decided to cut my losses.

Film reviews part 25 (in order of viewing)

Hard Truths (2024). 31.7.25. Not as good as expected. Mike Leigh has a tendency towards caricature and unfortunately created one in the main character despite an excellent portrayal. A very thin story as well, with the scenes at the doctor, dentist, furniture store feeling rather contrived and pointless beyond trying to make us amused at her problems. Similarly pointless were the short scenes at her nieces’ workplaces. And, finally, there was no explanation (was her condition always like this, had it got worse, was she happy as a child....?) and no resolution apart from a slightly bizarre scene which didn’t work well. Nevertheless, Mike Leigh’s talents as a writer and director are such that this still managed to be a rather enjoyable film! 7½/10

Grand hotel (1932). 19&20.8.25. Best Picture Oscar winner. An example of a film being made a hundred years ago being - in a sense - just as sophisticated and exuberant as they are today and without the woodenness of many films from the 40s to early 60s*. I was relieved too that there was no farce in this comedy-drama and that it was played pretty straight. To me, a young, radiant and very sexy Joan Crawford outshone Garbo, who had the least interesting and least challenging main role of this ensemble piece. 8/10 [*After writing this review, I see from Wikipedia that this was a Pre-Code film, which might explain the exuberance!]

The edge of the world (1937). 9&11.9.25. A very slight, short film. 6/10

Bachelor Knight, aka Bachelor and the Bobby-Soxer (1947). 12.9.25. An entertaining bit of fluff with an on-form Cary Grant and similarly strong performances from the two female leads. 7½/10

No bears (2022). 7&10.10.25. Mildly intriguing but ultimately not up to much, and it wasn’t explained (apparently) that the film being made (within the film) was a docudrama rather than a straight drama, which caused some confusion. Nice to see a slice of Iranian village life. 6½/10

That they may face the rising sun (2023). 21.10.25. A meandering meditation which is just perfect if you’re in the right mood. The acting is spot-on, and dialogue so casual and understated that it often feels like a fly-on-the-wall documentary. 7½/10

Steve (2025). 23&24.10.25. Highly watchable, almost mesmerising situation piece, with a particularly poignant moment featuring the local MP. 8/10

Nowhere special (2020). 29.10.25. Quite well-done but rather slight. 7/10

Law of Tehran, aka just 6.5 (2019). 4.11.25. Initially a great thriller, but goes off the boil somewhat in the second half, which concentrates more on a message to the audience than keeping up the dramatic momentum. Payman Maadi is superb, as he was in A Separation. 7½/10

King Kong (1933). 6&7.11.25. One can see how exciting this would have been in 1933, and even today it seems a somewhat powerful film in certain respects. Ultimately though it was clearly made as a box-office draw for the specific time and holds limited appeal to today’s audiences. All the characters are one-dimensional, but Fay Wray’s character especially so. 6/10

I also started watching the following films, but they didn't interest me enough to keep watching.

Fallen leaves (2023). 18.8.25. Watched half.

Blue Jean (2022). 27.10.25. Watched half.

Film reviews part 24 (in order of viewing)

Passport to Pimlico (1949). 13&14.3.25. Very silly, farcical melodrama. Both style and content are very of its time, and only of its time. Compare it with that other Ealing Comedy classic The Ladykillers, which is timeless. 5½/10

Compartment Number 6 (2021). 17.3.25 (approx). I thought this was excellent(ish) with pitch-perfect performances by the leads, and all the lead character's decisions and emotions seemed very apposite. One could perhaps sense the Russian mentality and culture as well (generally speaking). 8½/10

Anora (2024). 22.3.25. Worthy Best Oscar winner. A masterclass in cinematic movie-making when given a thin storyline. 8½/10

One fine morning (2022). 29 & 30.3.25. Delicately written, beautifully acted, and full of nice touches. Not much happens but with film-making as good as this that’s fine. 8/10

Letter to Brezhnev (1985). 4.4.25. Despite the wobbly acting and the general dated crudity of the production (crudity in the broad sense), this bright and breezy, typically 80s film is worth watching for what it is. 7/10

Lynn + Lucy (2019). 18.4.25. One of countless low-budget modern British films, but this very authentic, three-dimensional one about sisterhood (and the lack of it) stands a little above most of the rest. 8/10

Good luck to you, Leo Grande (2022). 19.5.25. A very anti-conventional morality piece, this seems to work well almost despite the script and performances, neither or which are quite first-rate (although great performances might depend on a great script). Bottom line: absolutely watchable / borderline engrossing. 7½/10

Jude (1996). 18.6.25. Rather perfunctory retelling: perfectly adequate but the production feels rushed and two-dimensional / it doesn’t have the depth it might have had taking into account that Hardy’s story is so powerful. A multi-episode TV drama might work better. 7/10

Playground (2021). 22.6.25. A bit too sparse for my taste despite several nice touches. 6/10

Bonnie and Clyde (1967). 8,9&11.7.25. The style is dated and slightly perfunctory, there is no depth, Gene Hackman seems miscast and his character needed fleshing out more, but still a mildly entertaining two hours. 6½/10

Film reviews part 23 (in order of viewing)

His three daughters (2023). 9.1.25. A brilliant, biting exposition, but then it became a bit mawkish for my taste. Perfect for the theatre. 7½/10

A real pain (2024). 15.1.25. CINEMA. A sweet and gentle film with excellent performances from the leads and supporting characters. The very last frame reminded me of the ending of the film Lourdes: both endings very poignant. 8/10

What’s up, doc (1972). 14&15.1.25. A very silly and dated farce. 5½/10

Funny girl (1968). 16&17.1.25. A 50s musical in style but with some three-dimensional dialogue – especially in the second half - and a memorable performance from Streisand (unlike the silly character she played in What’s up, doc). A ‘woman’s film’, told decidedly from a female perspective. Unfortunately the gambling storyline was ‘malnourished’ and the motive for the characters’ joint decision at the end was unexplained – unless I’m missing something (but explained by the Wikipedia article for the real Fanny Brice). The songs are terrible as well! Still, this held my attention throughout. 6½/10

The haunting (1963). 18.1.25 (approx). Generally literate, engaging throughout, and with excellent performances from Richard Johnson and Claire Bloom, this old-fashioned ghost story stands the test of time for script, direction and acting, even if the scares are now somewhat dated. The final reveal wasn’t as sharp / clever / scary as I’d hoped, the focus instead being on the lead character’s issues (which were dealt with very well). 7/10

What’s love got to do with it (1993). 25.1.25. A compelling, borderline-riveting biopic with an incredible performance from Laurence Fishburne in particular. 8½/10

Jailhouse Rock (1957). 27.1.25. Lively and good fun, with a believable Elvis (for the most part). The final 15 minutes flagged though, redeemed by a sweet, lovely ballad at the end. 7/10

(TV Movie: Anna Keranina (1961). 26.1.25. ​Rather lifeless bare-bones retelling of a probably much deeper and more interesting novel. 6/10.)

Saving Private Ryan (1998). 11&12.2.25. The material is thin, but the violence - while shocking even by today’s standards - seems authentic in this war setting and, strangely, both very well-choreographed and utterly chaotic, almost telling a story by itself (very unusual). So these egregiously violent scenes complement and greatly enhance the film, and yet in my opinion this was not the case with - say - the 2017 film Dunkirk, which seemed to be ALL about violence and sheer spectacle, and so was a nonentity as far as I was concerned. The final scene was particularly touching. 7½/10

Full time (2021). 17.2.25. Packs a lot into its 1h20 running time; the fast pace means it’s nearly always riveting – whether through great film-making or not – and I like the moral which slowly and subtly reveals itself. It reminds me of the film Two days one night, although that film has more substance.7½/10

Superbad (2007). 5.3.25. Puerile but often laugh-out-loud funny. It’s let down by the final third, which becomes too farcical and haphazard. 7/10