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