DIE MY LOVE**** - BFI London Film Festival 2025 - Day 11

Lynne Ramsay (YOU WERE NEVER REALLY HERE) creates a claustrophobic, deeply unsettling, occasionally mordantly funny drama about a mentally fragile woman suffering severely from post-partum depression. It stars Jennifer Lawrence in a raw, vulnerable role as the dangerously unboundaried mother in question. She cannot write, her sex life has gone to shit, she has lost her tolerance for the banal bullshit people say to mothers. Some of her rude interjections are funny.  But as the film goes on it becomes more and more frightening. We realise that while post-partum is definitely a factor, Grace was not well from the start.  And we ratchet up to a finale that’s both poetic and devastating.  It’s a bravura performance from Lawrence, and shows us just what she is capable of when she makes the right choice of material - something that has been sadly lacking for pretty much the last decade.  Robert Pattinson is also good in the smaller role of Grace’s husband Jackson. It’s a tricky role because he could so easily be played as unfeeling or feckless but he’s just a young man out of his depth.

This is a film that is slippery and refuses easy answers.  We are never really sure if things are happening for real or in Grace’s fevered imagination.  Does she really sleep with a mysterious neighbour (LaKeith Stanfield) or is he just a man she meets in a supermarket and then projects her sexual frustration upon.  Most importantly, when Grace finally says “enough” is she leaving the baby that she clearly loves, in spite of everything, or is she going to take her own life?  Even the attitude of the people around her is tricky to parse.  How far was Grace’s mother-in-law (Sissy Spacek) aware of her mental instability from the start? Her attitude at the wedding appears to be one of suppressed shock. And at a social gathering later on in the film, one of covering up and enablement.

My only criticism of the film is that when you make something that claustrophobic and intense then the running time of probably needs to be shorter.  I think 100 minutes would have been ideal. But I loved the way Ramsay traps us in a world that threatens to suffocate us, most notably by using a 4:3 aspect ratio and essentially one location.

DIE MY LOVE has a running time of 118 minutes.  It played Cannes and London. It will be released in the USA on November 7th and in the UK on November 24th.

THE OLD MAN & THE GUN - BFI London Film Festival 2018 - Day Four - Official Competition

In the words of Mr Phil, THE OLD MAN & THE GUN is "Wes Anderson directs Ocean's 80". What he means by that is that this is a wonderfully stylish, witty, smart caper film with a wry sense of humour and way too much charisma for its own good.  

The movie stars Robert Redford as the real life bank robber Forrest Tucker - a man so addicted to and made happy by robbing banks that he did it pretty much his whole life! Of course, he was also periodically caught by the cops, and so periodically busted out - not least in an audacious self-made small boat from San Quentin!  If the character sounds larger than life, Robert Redford looks like he's having an absolute ball in the role, and takes us along with him for the ride.  One of the funniest moments is when Tucker meets the cop who's trying to catch him - a wonderful Casey Affleck - and you can't tell if Affleck is laughing at the insanity of the encounter in character, or just at how much fun Redford is having for real. Add to this a super performance from Sissy Spacek as Redford's love interest and some truly authentic naturalistic performances from Affleck's character's kids, and you have a movie with a lot of heart.

Behind the lens, I loved David Lowery's sense of style and fun - his DP Joe Anderson's fluid, elegant camera-work, and a truly beautiful jazz-infused score from Daniel Hart. But to be honest, I can't single out everything I love because there's literally nothing I don't like about this film. In fact, it's one of my films of the year.

THE OLD MAN & THE GUN is rated PG-13. The film played Toronto and London 2018. It was released in the USA on September 28th 2018. It comes out in the UK on December 7th. 

THE HELP - the Driving Miss Daisy de nos jours

Tate Taylor, director of the anonymous 2008 comedy PRETTY UGLY PEOPLE, somehow managed to get the studios to allow to write and direct THE HELP, a soupy drama based on the best-selling novel by Kathryn Stockett. Not having read Stockett's novel chronicling the travails in 1960s racist Mississippi, I don't know whether the emotional manipulation and superficial politics come from her of from the director.  Either way, the resulting movie looks handsome, and made me shed a tear in the final reel, but has all the genuine engagement with the issues of DRIVING MISS DAISY.  It's a bland feelgood movie about a topic that should make us angry and agitated.  It's a movie in which the main African American character's son is lynched and yet we come out feeling warm and fluffy.  Double plus not good.

The film makes the mistake of telling the stories of these African-American maids through the lens of a perky white wannabe journalist - Skeeter (Emma Stone) - a move that immediately tells us we're in a world where a harsh tale has to be made palatable for a mainstream audience.  Ironic, also, in a movie that makes such a big deal about going right to the source.  Skeeter serves as the vessel through which the maids will dish the dirt and get their story published.  The movie is scrupulous in telling us that Skeeter is sharing the royalties with her informants - but while she gets a cool job in New York out of it - they are at risk of being sacked, imprisoned or lynched. The risks and rewards are clearly completely asymmetric, but the film doesn't embrace and mine that fact - it would mess up the fluffy finale.

Worse still, there is no subtlety in the characterisation - no shades of grey. You're either a good-hearted liberal white (Skeeter, her shamed and reformed mother, Jessica Chastain's character Celia), or a nasty racist white (Bryce Dallas Howard's Hilly and her acolytes).  And as for the African-American women they are largely painted in tones of full-on heroism, with even the thief seen as a martyr to a mean mistress.   As for the subject matter, awful, horrible petty racism is seen on screen, but racial violence is referred to rather than shown.  Ditto the subject matter of domestic abuse.  And I couldn't help feeling insulted that the subject of vengeance against racism was reduced to a scatological joke. 

All this isn't to say that the production isn't handsome - with lush on location lensing from DP Stephen Goldblatt (JULIE & JULIA) and wonderful period costumes.  And the female cast is good quality and does the best with the narrowly written characters they are given.  In particular, it was a joy to finally see Jessica Chastain able to round out a character - rather than just being a virtuous icon, as in THE TREE OF LIFE and CORIOLANUS.  

But this movie, so hyped, so likely to win awards, is not a good movie. It's politics are dicey - it's reluctance to truly grasp the profundity of what it's tackling frustrating - it's emotional manipulation dishonest.  I have no time for it.  

THE HELP was released in the autumn in the US, Canada, Australia, Hong Kong and Sweden. It was released in October in Portugal, Finland, Norway, Lithuania, Singapore, France, Ireland, the UK and Spain. It was released in November in Spain, Hungary, Poland, Malta, Estonia, Denmark, Greece, Kuwait and India.  It opens on December 8th in Germany; on December 28th in Belgium; on Dcember 29th in the Netherlands; on January 20th in Italy; on February 3rd in Bulgaria and on February 6th in Brazil.  THE HELP is likely to be feted during awards season judging by the studio campaign and early indications from the New York Film Critics Circle and the Hollywood Film Festival.

Pantheon movie of the month - BADLANDS - Such things I do

Terrence Malick makes movies that look so beautiful and feel so intense, they're heartbreaking. His first feature, BADLANDS, may be the least intricate of his films, but it's also one of the most memorable thanks to the evocative use of an orchestral motif from Orff and a pair of truly brilliant and disturbing performances from Sissy Spacek and Martin Sheen. Spacek plays Holly, a bland-looking, introverted teenage girl who lives with her dad in dull, dusty South Dakota. She meets, Kit, a 25 year old handsome rebel, in the style of James Dean. She thinks he's dreamy. He recognises in her the desperation and vacuousness that will make her a perfect audience for his self-deluding grandeur. For Kit dreams of being a romantic hero, just as Holly dreams of being swept off her feet in romance. For no reason other than to kick up a melodrama, Kit takes Holly on a killing spree, starting first with her protective, worried father. He wants glory - even if its notoriety. He wants the place where he's been captured to be famous. Their journey takes them into the psychological badlands - arid scrubland with isolated ranches where a friendly farmer can be shot in cold blood. The isolation of Holly and Kit is physical and psychological. He may be a reckless kid with a gun - a narcissist with a death-wish, but as the movie unfolds it's Holly who's the more disturbing. She watches Kit kill people with a moral detachment that is far more eery than his activity. She doesn't want or feel anything. Indeed, unlike Bonnie and Clyde, these kids aren't even sexually involved.

The resulting film is brilliantly slippery. It simulatenously presents us with the romantic vision of the two lovers on the run from the law, and the reality of two psychopaths, together alone.

BADLANDS played Venice 1975. Bizarrely it didn't win any awards to speak of and isn't in the IMDB Top 250.

FOUR CHRISTMASES - er..."mistletoe"?

FOUR CHRISTMASES is a piss-poor generic holiday season comedy starring Vince Vaughn and Reese Witherspoon. I normally like Vaughn's motor-mouth humour and Reese Witherspoon was great in LEGALLY BLONDE but they struggle to keep this underwritten movie afloat. The jokes are too thin and too few - the "big message" too preachy and obvious - the whole enterprise such a blatant shake-down it made me ashamed to have colluded with it. The high concept is that Vaughn and Witherspoon think that they are a happy independent couple until they are guilted into visiting each of their parents one Christmas day. Naturally, the movie spends eighty minutes showing how "they fuck you up your mum and dad" before telling us that, actually, we should all be nice to our families, before then telling us, hey, it's okay to exclude them from major life events. Huh?

So this movie is crass and inconsistent. It's also poorly made - just look for those awful continuity errors with Witherspoon's wig. Frankly, the only mildly interesting thing in the whole flick was the Steve Wiebe cameo. Seriously, director Seth Gordon should go back to making docs than hiring himself out.

FOUR CHRISTMASES is on release in the US, UK, Canada, Singapore, the Philippines, Australia, Germany, Portugal, Russia and Iceland. It opens next weekend in the Czech Republic, Greece, Hong Kong and Poland. It opens on December 18th in Argentina, Croatia, Hungary, the Netherlands, Bulgaria and Estonia. It opens on Christmas day in Belgium and Brazil and on New Year's Eve in France.