SMALL THINGS LIKE THESE*****

Director Tim Mielants has delivered a quiet masterpiece in this film set in early 80s Ireland and based on the equally powerful, slippery novel by Clare Keegan with a screenplay by the writer Enda Walsh (HUNGER).

It stars Cillian Murphy (OPPENHEIMER) as Bill Furlong, the owner of a small coal business who is happily married and lives in a home filled with laughter and the tumbling chaos of a gaggle of daughters.  Nonetheless, as many who have scraped their way up from poverty, he can never quite shake off that feeling of insecurity and is haunted by memories of his childhood as an illegitimate child taken in by a kindly rich woman (Michelle Fairley - Game of Thrones).

The moral crisis of the film is triggered by Bill making a delivery to a convent himself, and seeing the exploitation of the girls there, and receiving a plea for help from one distraught teenager in particular. As viewers, we are sadly all too familiar with the decades-long abuses of the Magdalene Laundries, in which the Catholic Church exploited young pregnant women. The question is: what Bill will do?

As is made clear to him by the presiding Sister (Emily Watson - chilling), going against the Church means a kind of social ostracisation - and Bill has many girls to educate in the school that they run.  And yet, and yet, he all too well knows that his own mother might well have ended up in such an institution, had she not been taken care of by her kindly employer. 

The resulting film is beautifully acted and captures the claustrophobia and oppression of a small town suffocated by the Church.  The sound design is particularly notable for depicting the twin horrors breaking in on Bill's mind - of his childhood and what is happening in the convent. Just as with the novel, this is a movie that absolutely envelopes you in a certain time and place, and stirs up emotions and provokes moral questions. It is a thing of beauty and brilliance.

SMALL THINGS LIKE THESE is rated PG-13 and has a running time of 98 minutes. It played Berlin 2024 and was released in the USA and UK in November.

JUROR #2****

I am not exactly sure why JUROR #2 slipped from view and made poor returns but it is a good old-fashioned, handsomely made, twisty courtroom drama. 

Nicholas Hoult (NOSFERATU) stars as Justin - a recovering alcoholic with a heavily pregnant wife.  Early into a criminal trial for murder Justin realises that the man on the stand is innocent of brutally bludgeoning his partner because it was actually Justin who was returning from a bar, having nearly relapsed, and thought he had hit a deer. He did get out of the car to investigate, but not finding anything, drove off.

So what should he do? Should he confess, knowing his history of DUIs will make his testimony unreliable? Should he agitate in the jury room for a mistrial?  And what of the prosecutor (Toni Colette), who needs a conviction for her re-election campaign?

The film works as a backward-induced whodunnit. Is the jury going to figure out what really happened?  It also works as case study of moral code, much as SMALL THINGS LIKE THESE will. How far has Justin truly reformed? 

As I said, there's nothing particularly new or inventive here, but the script was clever and tight, the performances solid, and I was thoroughly engaged throughout. It's kind of amazing that nonagenarian Clint Eastwood can still churn these things out.  It feels like a film that we used to make in the 80s - intelligent smart thrillers for adults. Maybe that's why it couldn't find its place at the Box Office.

JUROR #2 is rated PG-13 and has a running time of 114 minutes. It was released last month.

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM**

Director Kenji Kamiyama (Ghost In The Shell)'s THE WAR OF THE ROHIRRIM is a mediocre animated film set in Middle Earth that has too little story for its running time, despite having about seven screenwriters credited to it. Apparently the film was rushed out so that New Line could keep the rights to The Lord of the Rings, and if so that might also explain the rather average animation. I suspect there is a tighter, more compelling 90 minute film within this baggy two hour plus running time, and that a 90 minute film may have allowed for a more detailed and inventive animation style.

The story is crafted to speak directly to the Peter Jackson LOTR trilogy, much as the TV series Rings of Power does. This means that musical themes are repeated as are character tropes: the proud but outmatched King, the rejected but loyal nephew, the daughter who is underestimated but proves herself a hero. At its worst, lines are lifted straight from LOTR, such as when Hera says that all eyes will be fixed on her. 

The story begins with Helm Hammerhand (Brian Cox - Succession), proud ruler of Rohan, refusing to marry his daughter Hera (nepo baby Gaia Wise) to Wulf (Luca Pasqualino), the son of a Dunlander. This starts a massive feud, resulting in Wulf later attacking Edoras and forcing Hera to lead her people into what will become Helm's Deep. Battles ensue.

To be clear, I did quite enjoy the film but just wish it had been tighter and meatier and less beholden to LOTR callbacks. There's something really moving about seeing Helm's end and then hearing that funeral song. But it just isn't enough to sustain the running time.

THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM is rated PG-13 and has a running time of 134 minutes.

RUMOURS***

Co-directors Guy Madden (MY WINNIPEG) and Evan and Galen Johnson have created arguably the most absurd, whimsical and batshit crazy film of 2024 in their political satire RUMOURS.  

The movie starts with the G7 leaders meeting at German country estate to draft some kind of vapid communique about an unnamed crisis. Night falls, their phones stop working, fog rolls in, a giant brain appears (!), and the leaders start stumbling through the forest without a clue.  Evidently this is an extended metaphor for the now G-Zero world that we live in, with global leaders incapable of speaking honestly about, let alone solving, the existential crises facing our planet.  How far you find it overstays its welcome and wears on your nerves depends on your tolerance for its bonkers style.  

There are some brilliant set pieces. Cate Blanchett in an appalling German accent asks the Canadian PM if he wants a neck massage like a cheapo seduction scene.  The Canadian and Japanese PMs attempting to sail to help to a faux-moving Enya song. Charles Dance singularly failing to even attempt an American accent for his role as US President. Alicia Vikander in an hilarious cameo as the European Commission President in deep communion with the Brain. And for my money, the funniest of all is the cynical and pragmatic British PM, played by Nikki Amuka-Bird - the audience's way into this nuts story.  

I felt like the story outstayed its welcome but I liked its audacity and tone.  The more extreme the concept, the shorter the running time should be.

RUMOURS is rated R and has a running time of 104 minutes. It played Cannes 2024 and opened in October in the USA and earlier this month in the UK.

THE RETURN**

THE RETURN is an earnest but overly attenuated retelling of the closing act of the Greek myth Odysseus. A fully shredded Ralph Fiennes stars as the king who abandoned his people for a decade long siege of Troy and then an epic years-long sea voyage home.  When we meet him he is washed up naked on his home island, hiding his true identity through shame that he returned when so many of his soldiers died.   Meanwhile his wife Penelope (Juliette Binoche) is being harassed to take another husband among the many foreign raiders who are pillaging her lands.

We do not see the spousal reunion until around 45 minutes into the film and it's an acting tour de force.  Odysseus refuses to reveal his identity but Penelope has figured it out and asks searching questions of him - why did he abandon his family? Why did he take so long to come home? War? What Is It Good For? etc.  We then spend an hour derping around the island as their son is on the run from the raiders, before the climactic bow and arrow scene in which Aragorn, sorry Odysseus, reclaims his bride, and goes Full Tonto on his rivals.

That one deeply moving reunion scene aside, this film is desperately slow. Thanks to some pretty pedestrian direction from Uberto Pasolini (STILL LIFE), it feels as though each scene is wading through molasses, and Odysseus stringing his bow seems to take an age.  I feel like there is a really good 60 minute cut of this film that is more engrossing and less repetitive. I mean, how many times do we really need to be told that Penelope is being forced to take a husband? I couldn't shake the feeling that this was all just an excuse for Ralph Fiennes to get buff, naked, and drenched in blood.  Maybe he longs for a role in Vikings?

THE RETURN is rated R and has a running time of 116 minutes. It was released on Prime Video earlier this month.

CARRY-ON**

With CARRY-ON, director Jaume Collet-Serra (BLACK ADAM) delivers a po-faced, humourless, holiday-themed action thriller that is competent but never thrilling.  Taron Egerton (KINGSMAN) plays an aimless loser TSA agent co-opted by a mercenary (Jason Bateman - Arrested Development) who wants to smuggle a nerve agent onto a plane on Christmas Eve. Cue confused looks from co-workers and pregnant girlfriend/colleague as our hero starts muttering to himself and acting weird.  Luckily a sparky black policewoman (Danielle Deadwyler - TILL) - following our recent trend from WICKED LITTLE LETTERS and VENGEANCE MOST FOWL - realises something is up.  No prizes for guessing how it resolves.

I give it two stars from some genuinely good banter between Bateman and Egerton in the first act, with Bateman needling Egerton's TSA agent for his lack of ambition. But where's the warmth?  This film probably suffers from the fact that I recently rewatched the original DIE HARD. In that film we had jokes, we had catchphrases, we had actual relationship peril between our working class guy and his business executive wife.  We had a properly iconic villain.  This film lives in DIE HARD's shadow with its basic plot beats and concept, but feels so much more drab.

CARRY-ON is rated PG-13 and has a running time of 119 minutes. It was released on Netflix earlier this month.