★★ (2 out of 4 stars) - The last of a cluster of movies, all released within the space of a year between the autumn of 1987 and the summer of 1988, to depict youths turning into or swapping forms with adult men - the others were Like Father Like Son (1987), Vice Versa (1988), 18 Again! (1988), and the Italian film Da grande (1987), which is often cited as the inspiration for Big - in Big thirteen-year-old Josh Baskin...
★★ (2 out of 4 stars) - Imagine Jack Lemmon at his most highly strung, for instance in The Odd Couple, a Neil Simon film from a couple of years earlier, when Oscar Madison arrives home late from work after stopping off at a bar and Felix Ungar's meatloaf has dried out, and Oscar thinks that gravy just comes, and then confuses a spoon with a ladle...
★★★★ (4 out of 4 stars) - Barry Egan (Adam Sandler) owns a warehouse which manufactures and sells novelty goods - toilet plungers with supposedly non-breakable handles and so on - but channels all of his hopes into one venture: having carried out his research diligently, and as far as the vagaries of the promotion will allow, he has come to understand that by purchasing gross quantities of Healthy Choice pudding...
★½ (1.5 out of 4 stars) - Maggie Fitzgerald (Hilary Swank), from southwest Missouri, has worked as a waitress from her early teens. Stuck in grim poverty, she seeks a way beyond her circumstances, and determines to become a boxer. She turns up at a worn-down Los Angeles gym, owned and run by Frankie Dunn (Clint Eastwood) with the help of Eddie 'Scrap-Iron' Dupris (Morgan Freeman): a former boxer himself...
★★★½ (3.5 out of 4 stars) - Tully is the third collaboration between director Jason Reitman and writer Diablo Cody, following on from Juno (2007) and Young Adult (2011). All three films deal with the role of women as child-bearers, looking in turn at teenage pregnancy and adoption, miscarriage, and postpartum depression, which in this case borders on psychosis...
★★★★ (4 out of 4 stars) - At the height of her powers, Aretha Franklin went to church: to the New Temple Missionary Baptist in Los Angeles for two nights in January 1972, where she intended to return to her roots with a live recording of gospel music. The ensuing double album, Amazing Grace, would go double platinum, and it remains the best-selling record of her long and storied career. The acclaimed film director Sydney Pollack was tasked with shooting the performance for a feature...
★★★★ (4 out of 4 stars) - The Coen Brothers' first foray on Netflix feels curiously well suited to the format: curious because beyond the vagaries of the term 'anthology', which on film has sometimes meant multiple directors and is nowadays more often used for television shows whose series are self-contained, straddling the line between more conventional movie making and episodic or serialised television, what The Ballad of Buster Scruggs most resembles...
★★★★ (4 out of 4 stars) - Barry Egan (Adam Sandler) owns a warehouse which manufactures and sells novelty goods - toilet plungers with supposedly non-breakable handles and so on - but channels all of his hopes into one venture: having carried out his research diligently, and as far as the vagaries of the promotion will allow, he has come to understand that by purchasing gross quantities of Healthy Choice pudding...
★★★★ (4 out of 4 stars) - In 9th century China, the weakened Tang Dynasty struggles to retain control over its militarised province of Weibo. Nie Yinniang (Shu Qi) has been trained by the nun Jiaxin (Fang-Yi Sheu) to assassinate corrupt government officials, but though she possesses all of the art, she cannot bring herself to kill a man as he sits cradling his sleeping son. So Jiaxin, who has raised Yinniang from the age of ten, sets her charge a more personal task...
★★★★ (4 out of 4 stars) - Instead Renoir produced a bawdy comedy with French airs and graces, which seems to share much in common with so many American films of the late thirties with their loose morals, gender distortions, and hedonistic flushes of romance. The inspirations may have been Marivaux and Beaumarchais, but in style and temperament The Rules of the Game rubs up equally alongside The Philadelphia Story and the screwball comedies of Howard Hawks.
★★★ (3 out of 4 stars) - In Japan grown adult men - thirty, forty, fifty years old or more - lie prostrate in their childhood bedrooms, which they never leave, as their ageing parents push parcels of food beneath the door. On their beds they clutch plush life-sized cartoon figures, somehow prepubescent but boasting ginormous boobs, and between the heaving and moaning they not only cry but orgasm into their pillowcases...
★★★ (3 out of 4 stars) - In what sounds like a riff on an old joke, a drug dealer, a stripper, a runaway, and a nerd climb into a camper van south of the border. David Clark (Jason Sudeikis) is a low-level marijuana dealer who finds himself beholden to his supplier, the sleazy businessman Brad Gurdlinger (Ed Helms), when a couple of street hoods make off with his stash. To cover the debt with a little added compensation, David reluctantly agrees to smuggle a 'smidge' of weed from Mexico...
★★ (2 out of 4 stars) - The last of a cluster of movies, all released within the space of a year between the autumn of 1987 and the summer of 1988, to depict youths turning into or swapping forms with adult men - the others were Like Father Like Son (1987), Vice Versa (1988), 18 Again! (1988), and the Italian film Da grande (1987), which is often cited as the inspiration for Big - in Big thirteen-year-old Josh Baskin...
★★★★ (4 out of 4 stars) - A family of four live in a cramped and roach-infested banjiha, a semi-basement apartment in Seoul. They crib free Wi-Fi from unsuspecting neighbours and a nearby coffee shop, and their only source of income, procured by the mother Chung-sook via WhatsApp, comes from the folding of pizza boxes for a local delivery service, a task at which they are only moderately successful...
★★★★ (4 out of 4 stars) - Winfried Conradi is so given to practical jokes that he practically depends on them. When he opens the door of his home in the spa town of Aachen, he regales the postman with an elaborate deception featuring look-alike brothers, prison terms, erotic magazines, and mail bombs, tipping the postman for any distress accrued and to make amends for his own strange excesses. He carries a pair of false teeth...
★★ (2 out of 4 stars) - Imagine Jack Lemmon at his most highly strung, for instance in The Odd Couple, a Neil Simon film from a couple of years earlier, when Oscar Madison arrives home late from work after stopping off at a bar and Felix Ungar's meatloaf has dried out, and Oscar thinks that gravy just comes, and then confuses a spoon with a ladle...
★½ (1.5 out of 4 stars) - When it comes to the blockbuster action movie, three franchises remain. There is the Marvel Cinematic Universe and other assorted comic book pictures, y'know, for kids; Tom Cruise, most clearly for the ever stellar Mission: Impossible series, wilfully forgetting Jack Reacher but with shoutouts to American Made, Edge of Tomorrow, and the upcoming Top Gun sequel, sure to be a success; and then there's The Rock...
★★★★ (4 out of 4 stars) - Travis Henderson (Harry Dean Stanton) was introduced against a backdrop of blue skies and sandstone buttes, but his brother Walt (Dean Stockwell) wears a yellow Stetson cap and stands in front of a commercial tower block, which turns out to be painted. He sells billboard signs for a living, but agrees to travel to Terlingua, South Texas, to pick up his brother...
★★★ (3 out of 4 stars) - In The Sunshine Boys a pair of ageing and increasingly frail former comedians, Al Lewis and Willy Clark (George Burns and Walter Matthau), are brought together eleven years after their acrimonious separation in order to star one more time in a special for ABC. Veterans of the vaudeville circuit, their career together spanned forty-three years and six appearances on The Ed Sullivan Show...
★ (1 out of 4 stars) - Vampires on film are best taken seriously. As archetypes, strange and sad figures who permeate given spaces while proving difficult to grasp, they model for us fear, loneliness, and alienation, and are uniquely suited to expressive visual contrasts of light and dark. The great vampire films, Nosferatu (1922), Nosferatu the Vampyre (1979), and more recently Let the Right One In (2008), more than mere formal exercises...
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