H IS FOR HAWK****

H IS FOR HAWK is a deceptively simple, desperately moving, but never manipulative, film about a middle-aged woman coming to terms with the death of her father. Its success rests on a typically brilliant central performance by The Crown's Claire Foy as the protagonist, Helen. We spend so much time with her, trying to parse her feelings as she hides away from her grief, her family, her colleagues and her friends. Her distraction mechanism is caring for a goshawk called Mabel - a beautiful and fiersome creature of epic strength, who ties our protagonist back to her father's love of nature. At the peak of her depression, Helen literally hides away in a large cardboard box, and we are alone with her and Emma Levienaise-Farrouch's string-heavy ethereal score. This is a film that has the courage to allow grief its appropriate space, and to depict it in all its oppressive power. It takes quite the actor to take on this kind of role, and quite the director to understand what this kind of story needs.

The film is directed by Philippa Lowthorpe and is based on a tremendously successful book by Helen MacDonald.  Lowthorpe, who previously adapted THE OTHER BOLEYN GIRL, adapted the book alongside screenwriter Emma Donoghue, who worked on the Oscar-winning ROOM. I wonder if there's something in the fact that a lot of the behind-the-lens talent is female, because this film is a rare depiction of how vital and at times life-saving true female friendship can be.  We should all wish for the kind of friendship that Helen has with Christine (Andor's Denise Gough).  In that respect, this film reminded be of Eva Victor's SORRY BABY, insofar as it showed how sometimes friendship is all about persistance.

H IS FOR HAWK has a running time of 119 minutes and is rated PG-13. It played Telluride and London 2025 and is released in the USA and UK today.

THE THING WITH FEATHERS**** - Berlin Film Festival 2025

Whether or not you enjoy writer-director Dylan Southern's new film THE THING WITH FEATHERS will probably depend on how far you buy into his visual rendering of the high concept at the heart of the beautiful book upon which it was based.  Because novelist Max Porter chooses to tell the story of a grieving widower and his two small sons by imagining their grief as a large black crow who pokes, prods and even punches them into accepting their devastating loss.  What can be imagined from the page often appears clunky or laughable on screen and I was desperately worried that seeing a man-sized crow with a thick Northern accent wouldn't work. But I am delighted to say that for me, at least, it really did.

I found myself deeply engaged with this small family in its brutal fight for survival.  Benedict Cumberbatch is in almost every scene and perfectly embodies a dad who wasn't hands on before his wife's death and struggles to navigate family breakfast. And what superb work by casting director Shaheen Baig to find two young boys - Richard and Henry Boxall - to play the two sons -  who are rambunctious and confused and sad and angry and tender by stages.

Southern's script, closely following the book, captures the banal and sometimes insulting cliches of the grief industry and the well-meaning but prying acquaintances.  How many times was Cumberbatch's dad asked "how he was doing?" How does one even put it into words?  But these tone-deaf inquiries are balanced by Sam Spruell's cameo as a caring brother, Vinette Robinson as a good friend, and of course, Crow, voiced by David Thewlis - masterful as always.

I came through the film feeling both that I really knew and cared for this family, and also that I had seen a raw and vulnerable exploration of grief. The book is wonderful and this film probably comes as close as one can to translating it to the screen. 

THE THING WITH FEATHERS has a running time of 98 minutes. It played Sundance and Berlin 2025.

THE COUNSELOR

THE COUNSELOR has been comprehensively drubbed by the film reviewing community, recalling Roger Ebert's seminal review of Vincent Gallo's THE BROWN BUNNY, along the lines of "I've had colonoscopies that were more funny."  And just as I really liked THAT film, I actually rather like THE COUNSELOR. Or rather, I should say that I'm fascinated by why people are so horrified by it.  It's not that I enjoyed watching it so much as I enjoyed all the provocations it presented as I watched it.  

The movie opens with and maintains a rather opaque narrative style - a mash-up of abstruse conversations in beautifully designed international locales inter-cut with grungy Mexican drug runners pushing a truck full of cocaine disguised as human shit over the US border.  The Counselor of the title is a naive but greedy lawyer (Michael Fassbender) who is defined his love of the equally naive Laura (Penelope Cruz).  The Counselor works for Reiner - a flamboyant drug dealer and club owner played by Javier Bardem as a cross between Brian Grazer and Brad Pitt in Twelve Monkeys. Which is weird because Brad Pitt also stars in the film as a kind of a redneck magus, who tries to wise the Counselor up, but to little avail. The plot, such as it is, sees someone hijack the drug shipment and pin it on our crew, which violent and grim consequences.

Bardem does Grazer's fright wig

The moral of the story, is that there are no morals. There's just the hunt. This is a fascist world in which weakness, and flamboyance, and hubris are brought low in a manner that is so foul and evil as to be shocking.  The moral is that you should not be shocked.  There is a brutal simplicity and fascination in seeing faceless men pull off brutal procedural heists. But also something bewildering about seeing actors such as Toby Kebbell and Natalie Dormer pop up in small roles that hint at something more fascinating that isn't given a chance to develop. 

Anyone looking for the redemptive final act of Cormac McCarthy's sublime novel, The Road, is looking in vain.  And critics who have panned the film have typically blamed McCarthy for forcing this word-heavy, abstract, opaque script on a high quality cast and director.  I disagree.  This is like a sleazy B-movie filtered through an art-house lens -  as grungy and elliptical as Raymond Chandler - as absurd and meaningless and provocative.  As an example, I'd give you the notorious scene in which Reiner's wonderfully unapologetic and spiky girlfriend Malkina fucks a car.  This is as shocking as Chandler's depiction of the nympho Carmen Sternwood would've been in THE BIG SLEEP.  But what is the movie really focussed on? Not her sexual act - she is confident, unapologetic and uncaring about what you or I or Reiner might make of it.  The movie focusses on the reaction of the men in the picture - their horror, fear, inability to process.  In fact, I would argue that THE COUNSELOR is a shocking and reviled movie because it's so radical.  No-one's a good guy.  The bad guys are pussies.  And the bad girl doesn't care what you think.

THE COUNSELOR has a running time of 117 minutes and is rated R in the USA.

THE COUNSELOR is on release almost everywhere except Taiwan where it will be released on December 6th and in Italy where it will be released on January 30th 2014.

SNOW WHITE AND THE HUNTSMAN

There's a lot to love and a lot that doesn't work in this radical new adaptation of the Snow White fairy-tale from debut feature director Rupert Sanders.  

The stuff to love centres around the characterisation of the wicked stepmother, Ravenna.  She's written and played as a deeply insecure, emotionally scarred woman who has had to use her beauty to survive in a misogynistic patriarchy where women are sold as chattel and discarded when their looks fade.  There's a superb scene early on, when she's addressing the mirror on the wall, where we move to the perspective of her brother, and we're not sure if the Queen is just imagining it all.  Charlize Theron is absolutely stunning in the role - both in terms of the costume design and her performance. And fans of Games of Thrones will forever regret that she wasn't given the role of Cersei Lannister, more of which later. I was so involved in the story of Ravenna, that in the movie's final battle scene, I was willing her to win. She reminded me of Edmund in Lear, with his radical, demonic argument for meritocracy against the old established order.

Other things to love in this movie? As one might expect given Sanders background in commercials, the visuals are beautifully shot.  Indeed, one of the strengths and weaknesses of the film is that the narrative often feels like a weak excuse to get us from one beautifully imagined background to another.  The motivations for the moves, the narrative drive, seems secondary to the indulgently imagined costumes and scenery.

The tragedy is that all this beauty and Theron's wonderful performance is wasted upon a movie that is poorly paced, and plays like a second-class echo of better imagined fantasy worlds, created by George R R Martin, C S Lewis and Tolkien.  The character of Ravenna, complete with her incestuous relationship with her brother Finn (a marvellously creepy Sam Spruell) is straight out of House Lannister. As is the visual use of sigils and banner-men.  Snow White's long journey through different worlds before she finally faces off against Ravenna is straight out of the Lord of the Rings, with the dwarves recast as hobbits and Bob Hoskins' blind seer as Gandalf. And finally, Snow White (Kristen Stewart) has been recast as an Aslan like figure, reciting the Lord's Prayer in full (surely a first for modern teen cinema?), exhibiting healing powers over man and nature, and finally not even sealing the denouement with a kiss - rather standing alone, in power, neuter, a Virgin Queen.

This, of course, brings us to the weakest aspect of the film - its romantic core. Stewart's resentful mopey screen persona is ill-fitted to an active, action heroine who must imspire a people to revolt.  Chris Hemsworth as the Huntsman is more charismatic but suffers from an unhappy attempt at a Scottish (?) accent.  It's not as bad as Russell Crowe's attempt at regional English in ROBIN HOOD, but it's still unfortunately reminiscent of Mike Myers in SHREK. Still, the two young actors have a convincing rapport, which is more than can be said for Snow White and her aristocratic childhood sweetheart William (Sam Claflin).Claflin's character is so thinly written - his performance so uninspired - the potential love triangle so quickly dismissed - that what should be a powerful love story is reduced to a whimper.

One can only conclude that the movie is irredeemably let down by a poor script from Evan Daugherty, John Lee Hancock - THE BLIND SIDE, and Hossein Amini - DRIVE. It's just too derivative, too thinly developed, too lacking in narrative drive.  And worst of all, they try to include an emotionally manipulative death scene that's utterly unearned. 

P.S. Why does no-one wear helmets in battle?  Stannis Baratheon I'm looking at you.

SNOW WHITE AND THE HUNTSMAN is on release everywhere except: Cambodia, Denmark, the Netherlands, Ukraine, Finland, India, Norway and Sweden, where it opens on June 8th; Belgium, France, Switzerland, Russia and Japan where it opens on June 13th; in Australia, New Caledonia and New Zealand where it opens on June 21st and in Italy where it opens on July 11th.