Author: BennyViews

– a carefully composed, mostly understated biopic, with striking performances from its main cast, but it’s too preoccupied with family drama to excite and too measured to entertain. Its focus is near completely on Enzo Ferrari’s personal life, his battles with his wife, and his relationship with his mistress and illegitimate son. The cars, his efforts to revitalise his company, and the racing itself plays a muted second fiddle.

– I had imagined a great debate between two intellectual giants but this is an oddly uninteresting biopic. It frames itself as a head to head between science and faith, but really serves as a platform to superficially examine a few landmark moments in Freud’s life through disjointed flashbacks. Anthony Hopkins does some bilious grandstanding and Matthew Goode’s CS Lewis offers disapproving looks but is largely relegated to the role of naughty school boy. Disappointing.

– A decade after his last movie, Under The Skin, Jonathan Glazer gives us a plodding Nazi family drama set in the literal shadow of Auschwitz, and juxtaposed against its horrors. It’s interesting to see some of the same directorial manoeuvres used to create unease: headlights in the dark, crying babies, jarring music and colour, and every shot is thoughtfully composed and striking. But even with the best will in the world, the actual zone of interest here is quite small. The point is made within the first few minutes, and the rest of the feature serves to compound it, effectively, but somewhat superfluously. Then again, perhaps we can never be reminded too often, nor too viscerally, of that time, and this is certainly an artful and original depiction.

– has its moments but this is mostly a dull inter-relational drama that sees the film makers apparently operating under the prurient assumption that what makes a musical genius interesting is his personal life. It really isn’t. Perhaps this is a problem endemic to the biopic genre: the existence of fame is not necessarily the tell of a fascinating story, and though celebrity might draw in audiences, they’re liable to be disappointed if the life doesn’t live up to the legend. (On the flip side of this coin you get truly squandered opportunities like Ridley Scott’s Napoleon). No wonder they embraced the faux prosthetics controversy, how else to market something this dry? Everyone acts their socks off to no avail. You could probably take random people off the street and encounter more interesting stories and higher drama.

– French/ Russian drama always feels on the edge of something more, as though due a twist or story upset, but eventually disappoints. Instead, it’s just a plain and frankly tedious slog.

– considering the legacy of the eponymous legendary tactician and formidable leader, this is a singularly underwhelming and uninspiring depiction of him. It’s not bad, just incredibly lacklustre.

– French historical drama moves painstakingly slowly yet feels rushed, and includes so much history but still feels uneventful. Perhaps it’s unsurprising that the litigious affairs of the 1890s are distinctly short on entertainment.

– stark and bleak drama about the disintegration of a Jehovah’s witness family when one member abandons the faith. The madness of it makes it borderline sci-fi.

– stressful french language drama sees a single mum struggling with two kids and a long commute to her job as a hotel maid during a major transport strike in Paris. It’s high intensity but exhausting and lacks the visual interest of something like Boiling Point (which is a similar genre).

– monotonously bleak Danish war drama benefits from amazing performances and beautiful photography but lacks emotional range.

– This french language drama might not be novel, but it tells the familiar tale of a chemical company whose pesticides are causing cancer, pitted against the families of people their products are affecting, passionately and convincingly, and the decision to juxtapose the upturned lives of victims against that of the smug lobbyists makes it all the more hard hitting. Would recommend ‘Merchants of Doubt‘ as well/ instead – same topic but documentary.

– Bill Nighy plays a stiff upper lipped, subservient bureaucrat who realises there’s more to life when he receives a terminal diagnosis. It’s touching in the same way an awkward acquaintance might pat you on the shoulder if you overshare – sincere, but far too restrained and formal. Given the upshot of the premise, I expected something with more gusto.

– as mild mannered as the name suggests, this is an affectionate, meditatively paced (read: very slow moving) drama. While potentially too dull for some viewers, its warmth and simplicity are charming.

– ponderous drama is beautifully filmed and acted, though its meditative, poetic style won’t be for every occasion (or viewer)

– Spielberg’s semi-autobiographical and semi-entertaining family drama is a heartfelt coming of age movie and certainly a love-letter to his craft, but doesn’t deserve to be such a critical darling; Seth Rogen remains talentless and reliant on his stoner laugh, Dano feels like he could play the role in his sleep, and Michelle Williams character of Mitzi is so ethereal she practically breaks the illusion of the whole film. Thankfully Gabriel LaBelle’s Sammy is a lovable protagonist and his passion along with Spielberg’s inventive camera work just about carry it.

– a great story and historic snapshot offering an insight into the refugee journey from Syria to Germany via boat to Lesbos, along with the challenges it entails and the circumstances that motivate people to take the risk. I’m not convinced it’s told as effectively and affectingly as it might have been, in part because it’s not an especially flattering depiction of its protagonists, but that’s a matter of taste rather than any particular misstep on behalf of the cast or director.

– the genuine surprise is how they amassed such a stunning cast for such a mediocre film. Bland, devoid of excitement of any kind, and additionally burdened with an unnecessary romance.

– Despite occasional moments of fleeting comedy, this is a ceaselessly bleak folktale allegory of the Irish civil war that unfolds exactly as you’re afraid it’s going to, with bitter acrimony between friends growing increasingly hostile and violent. Though hauntingly artistic, it’s not exactly an enjoyable way to spend a few hours.

– dramatisation of the behind-the-scenes of the Weinstein scandal from the perspectives of journalists at the New York Times is straightforward in its format but brilliantly acted and, barring a few oddly laboured and contrived scenes, very compelling. It’s also a timely reminder of the importance and power of journalism when it’s targeted, well-resourced and focused on stories that matter.

– Channing Tatum carries Dog, both literally and metaphorically. A road trip drama about two war veterans struggling to cope post service, it’s occasionally touching, but more often uninspired and fanciful. Without Tatum’s charisma, it would have little to commend it.

– Cranston gives another phenomenal performance, this time as President Lyndon B Johnson in the months leading up to his election as he works with Martin Luther King to pass his first Civil Rights Act. It’s an insightful snapshot, both about LBJ as a man and as an introduction to other key characters and political themes of the era. (Robert Caro’s biography Passage of Power is the bible on this period and matches with Cranston’s portrayal here).

– Nuanced, timeless and illustrative of why personally despicable people still survive or thrive in politics. Makes me long for more high calibre political dramas.

– critics panned this inspirational true story of a boxer turned priest and his endless battle with adversity, but audiences, myself included, appear more receptive to its charms. It is very Hollywoodised, but of the ‘feel good’ variety, where characters are all redeemable and ultimately good people, despite their myriad issues, and where faith and love of one another triumphs. If that sounds saccharine, it is a bit, but it also makes for uplifting viewing. Not to mention, Mark Wahlberg’s performance and physical transformation is seriously impressive.

– while the performances in this biographical drama are good and it’s informative about the poet, Siegfried Sassoon, and the impact of PTSD, depression and his homosexuality on his life, the speech is so clipped and the style so stilted that it left me cold. It presents almost theatrically, with protracted scenes of archive war footage and morose expressions on the actors faces while long extracts of poetry are read. I wasn’t unmoved, but I also didn’t much enjoy the experience.

– while this is certainly a competent and affectionate film, I’m somewhat baffled by its acclaim. It’s described as a heist movie but there’s no heist to speak of: the art theft itself over in the blink of an eye and really just a necessary plot development rather than central to the action. The drama revolves around an ageing couple’s relationship, their coping with impecunity and the loss of their daughter. There’s nothing wrong with it per say, it’s just quite drab and boring, despite the sparkling talents of its cast (Jim Broadbent, Helen Mirren and Matthew Goode).

– Redford scores again in this prescient (or timeless) and uncomfortably authentic depiction of a newbie political operative losing his way on the path to being elected to the Senate. Understated but brilliantly astute.

– long, heavy duty PTSD drama is well acted and thoughtfully put together. Not exactly easy viewing though.

– watched this after being wowed by Jim Cummings more recent feature, The Beta Test, and, perhaps as a result of high expectations, found this underwhelming. It mostly works as a slow tragi-comedy, but is too heavy on the tragedy and light on the comedy.

– straightforward but heartfelt tale of corporate malfeasance hearkens back to a different era of journalism. Not bad.

– there’s a simplicity to this gentle, sombre, coming-of-age Australian drama that makes it seem overly patronising for adults, but, like reading a children’s book, still easy to appreciate its qualities, too. Clearly for children, I’d be hesitant about screening it too young: the numerous themes it introduces are very heavy, particularly given their lack of resolution, and likely to prompt some uncomfortable conversations.

– Odd but original Lucille Ball drama is enjoyably Sorkinesque, in both the good ways and the bad: it’s sharp witted with rapid fire, acerbic dialogue, but the comedy never feels particularly funny, and the whole thing feels as staged as the show it depicts.

– Straightforward, by the books sports drama is an enjoyable if unremarkable watch.

– though the genre and writing style isn’t my cup of tea, this engaging rock musical biopic showcases the remarkable talent of Andrew Garfield and offers an insight into writer/ composer Jonathan Larson’s creative process. In fact, despite the difference in era, this actually feels like a timely reveal of the anxieties continuing to plague young people, and in particular, artists, actors and musicians.

– heavy subject matter makes viewing a bit of a slog, particularly given lack of humour or charm, but it’s earnest enough and every bit as devastating as it intends.

– what is remarkable about this otherwise bland period piece is the unrelenting optimism of its hero. He’s a positive, inspiring figure, as if penned by Miles Connolly, and this worthiness makes for a happily uplifting sports drama, albeit a mediocre work of art.

– while the cast and director deliver with aplomb, there’s little to excite or enthuse about in this curious drama exploring the allure and societal dependency on alcohol.

– entirely missold drama, pitched as sci-fi, but actually about mental illness, addiction and homelessness. Perhaps because I had no idea what I was in for, the gut punch this delivered was a little more potent that it ought to have been, but I still think there’s more depth to this than the glossy marketing and top tier goofy cast imply. Didn’t enjoy it, but it was genuinely interesting. I think. Maybe…

– two dimensional and generally mediocre, but still quite heartwarming redemption drama

– slow but engaging survival drama with a sterling performance from Mads Mikkelsen but a frustratingly abrupt ending.

– slightly ashamed to admit that despite being an obvious vanity project from Gaga and Cooper, this was an engaging and mostly enjoyable watch, though all dramas about a death spiral into alcoholism seem to follow the same inevitable trajectory.

– Sherlock Holmes’ feisty younger sister gets the spotlight in this sententious feminist mystery pitched squarely at the next generation. Probably more of a hit with kids, but as an adult, its pompous didacticism is irritating and inauthentic.

– heartbreaking and optimistic in turns, this drama is powerful and well acted, but feels like it replays the same beats a few too many times.

– a movie narrated by a dog (even one voiced by Kevin Costner) definitely risks illegitimacy, but somehow, this love letter to decency, dogs and racing cars makes it work. This star-studded drama is conventionally heart tugging and tear welling, and occasionally, unconventionally profound.

– there are many recent films about obsession, but this arguably maps most closely onto real life. PT Anderson delivers a meticulous and measured weave of love and hate, that if it wasn’t so endlessly acrimonious as to be unpleasant to watch, would be masterful. One to admire, not to enjoy.

– mercifully short, because it’s every bit as dry and bleak as the ‘shit job, toxic work culture’ synopsis suggests. Competent, but not for me.

– Thoroughly enjoyed this badly named Aussie sports drama. It charts the usual beats, but it’s novel to see a familiar formula applied to horse racing, and the cast unanimously give great performances.

– for a film about a dog, this is a surprisingly heart warming sermon on love and determination, with gentle, affecting performances from Dafoe and Nicholson.

– if there’s only one compelling reason to watch this, it’s Ben Affleck’s masterful performance. Affleck’s career has had such an impressive arc, with his recent roles showing serious talent and selective nous. The plot itself is quite disappointing, adhering to nearly every sports movie trope, but it’s less about the sport and more about the man and his battle with alcoholism. Worth a watch for the acting, if not the story.

– more dull romantic drama than survival thriller, this features strong performances from the central duo (it’s basically a two man cast), but the script is terrible, really insipid, and the romance is on the nose.

– harrowing Danish tragedy hits hard on pretty much every level. Maybe not ideal to watch post-bereavement. The direction is a little preoccupied with eyes for my liking, but it’s generally well shot and phenomenally well acted (by everyone, particularly Rolf Lassgård). An extremely affecting drama preoccupied with the theme of family.

– solid piece of cinema. If period drama is your genre, you’ll love this. Really strong performances throughout (particularly from Saoirse Ronan and Florence Pugh), a smart script with some cutting one liners, and an emotive story.

– Surreal, emotionally provocative biopic gets under the skin and stays there. Best watched alone and undistracted. It’s uncomfortable, for myriad reasons, but all the more powerful for it. Reminded me of the book, ‘Mr. Blue’, by Myles Connolly, but it’s actually based upon this article.

– smart dialogue, terrific acting and generally a pleasant surprise. What a cast. Could have done without the expositional breaking of the fourth wall, but at least it’s curtailed in comparison to The Big Short and Vice (neither of which impressed as much as this).

– Dialogue is thin, even condescending in places, the depiction of PTSD is a standard, unsubtle Hollywoodisation, and some of the direction is plain weird, like a sequence where Colvin has sex with a stranger while her voiceover describes dismembered bodies. All in all it’s an unimaginative, unflattering and strenuous biopic of war correspondent Marie Colvin.

– bad tempered, unlikeable characters go back and forth and over and over in the ego impelled rivalry between Westinghouse, Edison and Tesla. It’s dry and not particularly entertaining, but competent.