Lincsobserver Reviews

Anatomy of a Fall (2023)

Enjoyable if overlong

[7/10 · 14 May 2024]

This French drama centres on whether a man's fall from an upper window of his Swiss chalet is suicide, or murder, with the other options of accident, or an attack from an unknown assailant having been ruled out. The story switches between the trial, and flashbacks to the couple's relationship, with the evidence seeming to swing one way and then the other. I felt a little uneasy that a lot of the evidence being discussed is subjective opinion - expert witnesses are subjected to ridicule, and the barristers seem able to continually interrupt each other at will. My biggest objection is that for a film that is 2.5 hours long provides us with no twist or big reveal at its conclusion. Maybe that's a sign of bravery, but it just left me feeling a sense of bathos.

Wicked Little Letters (2023)

Lack of subtlety

[6/10 · 18 April 2024]

This British comedy is, rather like the content of the letters on which the plot is based, somewhat crude and unsubtle. The characters are largely stereotypes - the prim, god-fearing Edith, the foul-mouthed slatternly Irishwoman Rose, the misogynistic buffoons (pretty much all the male characters). Timothy Spall plays a nasty bully, and this, along with the early friendship between Edith and Rose, which breaks down, mainly due to his influence, suggests there is a potential for a stronger story here - if the film had been brave enough to escape the rather one-joke plotline approach. The use of black and Asian actors to portray characters in roles where this would not have been historically accurate has now become almost obligatory, but is still a bit of an irritating anachronism. Overall, the film does have its moments, but does feel like a bit of a missed opportunity.

The Company of Wolves (1984)

Surreal, dream-like horror

[8/10 · 8 March 2024]

The Company of Wolves remains one of my favourite horror films, despite, or perhaps because of, its unconventional structure. It was never a great commercial success, and one can see why - the story is fragmented into a series of largely disconnected dream-like episodes, which most horror film fans, expecting a more conventional plot structure, would have found disturbing. There is, to be fair, a feeling that the film never properly gets going. It is also possible, though, to see why it has become such a cult classic, by its very refusal to follow a direct storyline, or be bound by the expected motifs of the genre. Whilst it can, at times, appear a little self-indulgent, it creates a series of haunting images that remain in the memory far more effectively than most horror flicks. The casting of Sarah Patterson as the central character, both the dreamer, and the chief player within the dreams, was an inspired choice. Despite being only 12 at the time (she looks about 15), she excellently portrays the role of a beautiful young girl, on the verge of adult sexuality, with all its temptations and dangers. Stardom appeared to beckon, yet strangely she only made one other film of any significance.

Barbie (I) (2023)

Colourful, but confusing

[6/10 · 10 September 2023]

Who exactly was this film aimed at? Most of the audience when I saw it were adolescents, and there were numerous (perhaps too many) colourful song and dance scenes, which might have appealed to younger viewers, but also a lot of philosophical debate about gender roles and inter-relationships that would have gone over their heads, particularly as these were delivered at a frantic, garbled pace. There were some good comic scenes, and stand-out performances by Margot Robbie and Ryan Gosling, but as the film wore on, it all became a bit preachy. The message seemed to be about finding self-fulfilment rather than romance. Okay, not every film, or every life, has to end in a fairy-tale romantic coupling, but the emphasis on individual fulfilment within the support structure of the sisterhood seems a little bleak. It also makes nonsense of the final confusing pay-off line of the film.

The Good Boss (2021)

The Scales of Justice

[8/10 · 10 January 2023]

At the start of this film, Blanco is portraying himself as a benevolent, paternalistic employer, 'The Good Boss' he imagines himself to be. As the story progresses, we realise that he is far from this noble ideal. Determined to win a coveted award for business excellence, his behaviour is selfish and cynical. Not that those who he comes in conflict with are angels either - they all have their own agendas, and use a variety of means to achieve them. Although the film is too simplistic, and a little contrived in places, for it to be a great drama, as a dark comedy it drives along at a good pace, and, in Javier Bardem's expressive performance, delivers some excellent humour. Although Blanco likes to talk a lot about the scales of justice as if this is some Olympian ideal he is striving towards, justice, if it is achieved at all, is only reached via a mixture of bullying and blackmail, and those who apply these tactics the most ruthlessly are those who come out on top.

In Suspicious Circumstances (1991– )

Welcome rerun of classic series

[9/10 · 26 December 2022]

I'm pleased that talking pictures tv have given viewers the chance to see this series again. It's a mix of fascinating real life murder cases, some relatively well known, others far more obscure. In some instances there was a clear miscarriage of justice, whilst others are far more finely balanced. All of them, though, are intriguing. The dramatisations have stood the test of time well, and it's interesting to see just how many actors who have gone on to find greater fame in later years, appear in this series. In one episode alone we see Amanda Holden, Philip Glenister, and a young Anna Friel.

Amsterdam (2022)

Star-filled cast adds a glow to lightweight film

[6/10 · 15 December 2022]

Considering how many star names there are in this cast, some in relatively small parts, and each capable of attracting their own fanbase, it's perhaps a surprise that it lost a considerable amount of money at the box-office. It's an entertaining rollercoaster of a film, whose plot narrative seems jerkily inconsistent, but which manages to pull off a few memorable scenes. I liked Christian Bale's performance, which reminded me strangely of Peter Falk in Columbo, but some of the others in this glittering cast are given too little to work with to impress. The basic plot sounds like one of those implausible narratives dreamt up by a scriptwriter in order to hang a story on, yet was, apparently, based on real events. The comic tone makes it all feel rather lightweight, and it did seem to go on for too long, but it's a reasonably entertaining offering.

Long Weekend (1978)

Impressive Australian thriller

[8/10 · 12 December 2022]

I remember watching this Australian horror film many years ago, and being impressed, so was pleased to have a chance to see it again via talkingpicturestv. For me, it is the unsettling small details; the dead dugong that seems to advance, unseen, up the beach, the fellow campers who are there, but then not there, that makes this film so effective. What I had forgotten from the first time was how boorish and unlikeable Peter and Marcia are. Yes, I get it that the moral of the plot is nature's revenge on their uncaring attitude towards the natural environment but can't help feeling that the film would have been even better had they been portrayed as slightly more sympathetic characters, whose fate we would care more about.

The English (2022)

Compelling and visceral take on an old subject

[9/10 · 11 December 2022]

The USA in 1890 was a fast-developing economic superpower, but away from the big cities the American mid-west was still a primitive environment where ruthless people trampled on and destroyed the weak and the naive. This is the world brought to us by 'The English' a new take on an old genre; the laconic dialogue, harsh but beautiful landscapes, and visceral personal confrontations are reminiscent of some of the Spaghetti Westerns, but this production has a deeper, darker heart. Emily Blunt and Chaske Spencer are excellent as the two central characters, and their deepening friendship, blossoming into love, is entirely believable, even if it is doomed not to be fulfilled. It is the one bright part of a story that is unremittingly bleak; most of the characters have suffered an injustice, sometimes horrendous abuse, and this motivates a desire for revenge, whether against an individual, or society in general. That, perhaps, is my one slight niggle (other than I found it hard to catch some of the growled one-liners), the presumption that an injury has to be repaid in blood; there is no room here for redemption or forgiveness.

The Man Who Killed Don Quixote (2018)

Visually splendid quixotic tale

[8/10 · 30 November 2022]

Toby, a film director, made his artistic breakthrough with a low budget version of Don Quixote, using locals from a village as actors. Ten years on, and his career has been reduced to filming product commercials. Finding himself near the location of his early film, he decides to revisit the village, but finds that the locals have not fared so well in the meantime, either. Sancho Panza has drunk himself into an early grave, the bar owner's daughter has failed to become an actress, and drifted into escort work, later becoming the lover of a Russian businessman, who treats her badly. The cobbler who played Don Quixote now fantasises that he really is the fictional character. By an improbable sequence of events Toby takes on the role of Sancho Panza to this fake Don Quixote, and embarks on a series of adventures. Terry Gilliam's story is at times rambling and self-indulgent, but it does have at its heart a message of 'following your dreams', and of finding a noble quest amidst a cynical, materialistic world. It also has many moments that are visually impressive. Or of comic improvisation.

Emily (2022)

A great deal of artistic licence

[6/10 · 17 November 2022]

Emma Mackey gives a strong performance as the central character in this drama; she is charismatic and beguiling, an emotional display (though at times this does stray into the histrionic). Whilst the director's intention is to provide a portrayal of the character and inspiration behind Emily Bronte, rather than a straight biopic, the amount of artistic licence used does undermine the credibility of the story. It is implied that the failed romance between Emily and the local curate provided the inspiration for Wuthering Heights, yet this romance did not happen; the characters in the story do not question the idea that the girls might want to become published writers - but society's prejudice at the time meant that they (and Mary-Anne Evans - George Eliot), all had to publish under male pseudonyms. Charlotte is portrayed as a prissy school ma'am - it's hard to imagine this person writing a classic like Jane Eyre. Ann, also a published novelist, is virtually written out of the story. It's a visually attractive film, but unconvincing, and ultimately, rather disappointing.

Don't Worry Darling (I) (2022)

Intriguing drama, but could've been better paced

[7/10 · 10 November 2022]

There have been a number of films over the years that have centred upon idyllic looking mid-western communities of the 1950s, with something unpleasant behind the luxurious houses and well-manicured lawns. This film owes something to them, and, as the plot develops, a lot to the novel by Christopher Priest, 'A Dream of Wessex.' What I found frustrating was that a lot of time is spent in the scene setting, and in giving hints that there's a dark mystery to be uncovered somewhere, yet the explanation, when it comes, feels very rushed, and leaves a lot of questions unanswered. Florence Pugh in the lead role, does enough to enhance her acting credit, and the drama is stylishly portrayed, but I feel it would have been more effective if the pacing had been better, and more attention paid to the substance of the story.

Bullet Train (2022)

Fast Paced Action Thriller

[7/10 · 29 September 2022]

There's more than a touch of Tarantino about this fast paced action thriller, which contains a great deal of excessive, cartoonish violence, relieved by lashings of dark humour, and a cast of larger than life villains. It's an entertaining way to spend just over two hours, as long as you have a strong stomach for the frequent graphic violence, but don't expect the story to make much sense, or it to have any depth beyond the level of visceral thrill. Brad Pitt holds the plot together, and Aaron Taylor Johnson and Brian Tyree Henry make a good double act. The attempt to give it a little more depth, by introducing a theme of the effect of fate on a person's life seemed unconvincing, though.

Where the Crawdads Sing (2022)

Powerful and well-acted

[9/10 · 1 September 2022]

This is an intriguing story, made special by a powerful performance from its lead actress. The landscape of the Carolina marshes is beautifully filmed, adding to the atmosphere. Yes, there are a few implausible elements -shortcuts that are inevitable to reduce the length of the film, or to increase its sense of drama - but overall it's a very impressive production that encapsulates the tension of a courtroom drama, with a poignant search for fulfilment in a natural environment, and a struggle against the pressures of conventional society, the 'madding crowd' that constantly threatens to derail Kyra's life and dreams.

Apples (II) (2020)

Interesting film about the search for identity

[7/10 · 10 May 2022]

In this film Aris appears to have suffered from a major case of amnesia, along with many of his fellow citizens. As a result he is put into a rehabilitation program, to try to help him rebuild his identity. The central character plays the scenes with a deadpan air, allowing us to view the unfolding events with him. He meets a fellow amnesiac, and they appear to be building a relationship, but he becomes disillusioned when he realises that her advances towards him are just the result of suggestions by the doctors who are controlling the program. It is an interesting study about the search for identity, and a meaning to life, and perhaps too the controlling impact of institutions on our lives, as the demands of the doctors become increasingly bizarre and inappropriate. Ultimately the film seems to question whether the character really has lost his memory, or whether this is a voluntary choice, as he searches for a new identity.

Nightmare Alley (2021)

Visually impressive, if a bit overlong

[7/10 · 5 May 2022]

This is a dark, though impressive film - seemingly two films in one; the first half being a celebration of the community of tricksters and misfits that form the travelling circus, and the second, once Stan and Mollie have run away to start a new life together, an increasingly dark tale of greed and psychological games. Bradley Cooper's Stan is much nastier and more cynical in this second half. Both storylines are played quite successfully, though the themes have been used in other films. One has to assume that Cate Blanchett's character had been mutilated at the hands of Ezra Grindley -it's not made clear- which is why she sets up Stan to wreak revenge (though it's only by chance that the scenario plays out the way it does).

Spring Blossom (2020)

Sweet, if insubstantial

[7/10 · 8 February 2022]

Films that deal with the subject of a young girl's romance with an older man can often descend into issues of sexual exploitation, or see it as a result of a troubled family background. It is a relief, therefore, that Suzanne Lindon's seemingly autobiographical take on her own teenage years portrays a happy family, and a gentle, innocent romance. It has the lightness of touch reminiscent of some of Eric Rohmer's coming of age dramas, the only disappointment being that very little is resolved, or even discussed. It's a short, charming film, but one that leaves the viewer feeling vaguely unsatisfied at its conclusion.

Dune (2021)

Overlong - and it's still only part one!

[6/10 · 3 February 2022]

I saw today that 'Dune' had received the most (11) Bafta film award nominations. That was a surprise, as it seemed to me an overlong film that takes itself far too seriously. Yes, the special effects are impressive, and one would could see a topical theme about colonisation in the story (one House wants to be good stewards of the planet, another just wants to exploit its resources and suppress the native population). The characters tend to fall into the stereotypes one expects from this kind of sci-fi adventure epic; some noble warriors, a bloated despot, a young man destined to be leader, a hint of future romance...the visuals are easy on the eye, but there's a lack of real originality about it all...and to think, this is only the prologue!

La belle époque (2019)

Visually good, if a little self-indulgent

[6/10 · 11 January 2022]

Films about people making films are popular with directors - it's their world, after all. The setting for this story is effectively a film-set, based on the lead character's past life. It's an interesting concept, but it does drift into some introspective observation about the fantasy world that cinema creates, and the delusions that people play upon themselves. Daniel Auteuil and Fanny Ardant are good value, as always, and the actress who plays the role of the young Marianne gives a compelling performance. One minor irritation was that this was supposed to be a recreation of 1974, yet the music is more redolent of the 1960s.... I suppose the French have always been a little behind the times where pop music is concerned.

Last Night in Soho (2021)

A good story spoilt by excess

[7/10 · 9 December 2021]

Hidden amidst a lot of crude blood-letting and shock effects, there is an intriguing supernatural tale within this film. There are some striking visual images, a good soundtrack, and a compelling performance by Anya Maxwell-Joy as a 1960s starlet who descends into the seedy underbelly of Soho life. Quite why modern fashion student Eloise goes back in time to relive these scenes, or why she seems unable to use the internet in the modern day, isn't really explained. I did feel that the film would have been better if the director had used more restraint in some sections, and concentrated more on making the storyline more credible.

Stillwater (2021)

Involving drama that avoids an easy pay-off

[8/10 · 14 October 2021]

It might have been tempting to frame this story as that of a heroic American father rescuing his daughter from the clutches of devious Europeans. It is to the director's credit that he avoids this easy option. Neither Bill Baker nor his daughter are particularly admirable people, though Bill, played by Matt Damon, does have a dogged persistence in his attempt to prove the innocence of his daughter, despite her ingratitude for his efforts. The heart of the film is Bill's developing relationship with Virginie, and her young daughter Maya. They are without doubt the most sympathetic characters in the plot, and the tragedy of the tale is that, ultimately, he destroys that relationship in order to rescue his daughter, a person who doesn't seem worthy of that sacrifice, and who appears to have been at least partly culpable in her friend's death. Whilst some viewers might feel cheated by the lack of a happy ending, I admired the bravery of the film in avoiding that easy pay-off.

The Father (I) (2020)

Moving story of dementia

[8/10 · 2 September 2021]

Anthony is an intelligent man in his early 80s, who is slowly descending into the twilight world of dementia. We see events from his perspective, which means a Kafkaesque, nightmarish world in which people switch identity, and even his own flat alters its appearance. The only downside of this approach is that we are never sure whether the conversations he experiences have ever happened, or may be memories of past events, or with other people. Anthony Hopkins is an excellent actor, who conveys the part with great depth and conviction. Don't expect a happy ending, though.

A Star Is Born (2018)

Remake not Rebirth

[6/10 · 14 April 2021]

I remember the 1976 version of this story, starring Kris Kristofferson and Barbra Streisand, and this version, though the background setting and music is updated, feels very much like a retelling, rather than adding any extra dimension. Even Bradley Cooper and Lady Gaga are made to look remarkably similar to the Kristofferson and Streisand of that era. The novelty factor is the casting of Ms Gaga for the role; she is competent, though hardly exceptional in her performance. As we plough through another mid-paced country rock ballad, one can't help feeling that her own stage persona and back catalogue are actually a lot more interesting than the character in this film.

The Irregulars (2021)

Entertaining but anachronistic

[5/10 · 8 April 2021]

I appreciate the need to try and appeal to a younger audience, but in setting this show in Victorian England, it feels as if it is just exploiting the popularity of Holmes & Watson, and would be more at home in a modern day setting. The language of the characters, particularly that of the lead actress, which is foul-mouthed and far too modern, is especially grating. Pity, as the plot of the first episode was imaginative and entertaining.

Dickensian (2015–2016)

Engrossing celebration of the world of Dickens

[9/10 · 20 January 2021]

I've enjoyed re-watching Dickensian during lockdown, it could do with some editing in places, but overall it's an engrossing re-imagining of the back stories of many well known characters, from various novels, all co-existing at the same time, in the same London neighbourhood. The most powerful storylines are those of Miss Havisham and Lady Dedlock, two of Dickens' most formidable female characters, here seen when they are still vivacious young women, full of life and hope. The events that befall them give depth to their characters, and emphasise the tragic wasted potential of their lives. The scene in the final episode, when Nancy sings to an enthralled audience in the local pub, happily believing she is in love with Bill Sykes, is also poignant, knowing what fate has in store for her. Was there ever any thought of doing a second series? There was certainly the potential for one. Perhaps viewing figures were disappointing; devotees of Dickens might have seen it as sacrilege, and it may have been perceived as too highbrow by the average viewer. Nevertheless, I found it a triumph, that celebrates rather than just exploits, the works of the author.