Film Reviews by RCO

Really a bit simple and escapist, but the germ of a topical idea about AI and reality is buried in there somewhere.

Cyber punk men, cartoonish identikit women, brainless authority, super powers, guns that only hit the baddies, comic-book kung-fu, shades to look cool, the man in the long black coat... so many tired old tropes.

In many ways both Brazil (1985) and Barbie (1983) explored the same territory much better, this is all a bit childish.

If I'd seen this film in 1969 I'd have totally bought in to it - but it wasn't made until 1999 and now looks tired and silly.

Portentous, self-important tosh. A very well written and filmed drama but ultimately pointless and tedious.

Essentially it is a jury-room drama (12 Angry Men etc) in red robes. Obvious from the start that the rank outsider would get it with a pointless surprise at the end

Really not very good overall. Some nice elements - good to look at, interesting to learn about the man only known for his books, not previously seen gritty archive footage from WW1 trenches - but ultimately who wants to watch a film about privileged gay lovers in the 1920's and 30's falling out with each other - if you do, you might enjoy this.

The narrative develops well as Tatyana, and we, uncover the truth of what is going on, and has to deal with it. The special effects of the Alien (reference intended) very good. As often with aliens HP Lovecraft has a lot to answer for - tentacles and slime! The three lead characters all very solid.

Also interesting to see a Russian film looking back to the late Soviet period - bare corridors and lightbulbs, paranoia and little rebellions against pervading authority - so different to Russia today, and more like England today.

A seemingly simple story with some hidden depths and amazing scenery. A slice of a real life that is probably completely outside your experience, but with a strong moral compass to relate to.

Interesting story well told. The ending simplifies the truth somewhat as it took a further 2 years for Pinochet to step down, and of course the campaigns were more complex - the 'Joy is Coming' (translated as 'Happiness is coming'in the film) was only one element - although undoubtedly an important one. But allowing for the need to produce a coherent narrative from a very complex reality this film does a good job of telling its story and giving a glimpse of what it is like to overthrow a totalitarian regime when the opportunity presents itself.

A very well made and acted and paced thriller following Emily's (Aubery Plaza) odyssey into life as an independent crime boss.  From a wholly believable presmise - young woman saddled with student debt and a conviction that prevents her getting a better job, finds a way to make a bit of extra cash - and then some more. And why wouldn't she.

Partnering with Youcef (Theo Rossi) they start to build a business, until Youcef's partners find out what he is up to and Emily pushes back.

Very enjoyable, nice to see a strong female lead character in a thriller. Aubrey Plaza is excellent and the story is well written by director John Patton Ford.

Frankly today this appears somewhat absurd. The role of the psycho-investigator who gets into the mind of his subject is now an overworked trope, and the "dramatic" action in the FBI offices and helicopters as they try and close in on the serial killer before a deadline comes across as laughable - reminiscent of the old channel 4 tv series Treasure Hunt with Anneka Rice rushing around in a helicopter trying to solve clues for a team of investigators in the studio managed by avuncular Kenteth Kendall - at least that was entertaining at the time. Manhunter is not.

Of interest only because it was the first Hannibal Lecktor film before Silence of the Lambs (which was a bit better) and watched because I stumbled across a reference to it in a completely different context which made it sound interesting. It really isn't.

A little more coherent than A White, White Day (also by Pálmason with Ingvar Sigurdsson as a brooding presence), and with definite shades of the Herzog-Kinski South American films (Aguire, Wrath of God and Fitzcaraldo) in the epic journey by a flawed hero (Elliott Crosset Hove here channelling Klaus Kinski) who has to confront his demons.

A film of two distinct parts, with an intro in the Bishops place in Denmark, and an outro on the snowy wastes of Iceland. The first part is the epic journey and then the second is almost as if Lucas has been delivered or re-born into another world or afterlife, which holds both promise of Elysian fields and the potential for despair and doom and sudden nemesis.

Another excellent piece of filmmaking by Pálmason - if you appreciate slow-paced arty films and/or Icelandic scenery, then you'll like this.

One star for being Irish and mildly amusing at times - but it doesn't really deserve even that.

Incoherent storyline, cartoonish characters, poorly directed, it is almost complete rubbish. 

Sound so poor we had to turn on the hard-of-hearing subtitles to catch what they were saying - not that they were saying anything very interesting. The oirishness was dialled up to 11 and frankly irritating, Photography competent though.

The director should go back to her documentaries, and the writer should try a different line of work. You shouldn't waste your time watching it, its not even bad enough to be worth seeing it to laugh at.

Obviously well photographed and directed 'tis a slender and unlikely tale but oddly compelling. Touching and exploring several deep questions - am I a dull fellow, what is a friend, what is the meaning of our endless numbered days with all of the civilised baggage stripped away by the limitations of the environment in which the characters operate - perpetual sunset, minimal social contact - there is something of the Samuel Beckett about it.

An English "follow your dream" caper, not rags-to-riches but more live your own life and don't let the bastards grind you down.

A bit sentimental but basically honest (if not exactly true to Flitcroft's family - who knows? or cares? its a film, not a documentary). Some slapstick (capsizing the golf cart in a keystone cops pursuit), plenty of fun poked at snobbery.

Pretty dull road movie with good B&W photography. Makes you glad you are not living in America. Very like the other more recent film about getting old - Lucky, the Harry Dean Stanton swansong - it gets an extra star for the photography, but aside from that it has very little merit. The acting was pretty good I suppose, but the absence of story, or interest in, or identification with, the cultural milieu killed it stone dead.

No idea why this got on our list. Avoid!

Pretty Dull. Really nothing much happens. We just see some days in the life of an old man living independently, and some of the people around who support him despite his somewhat cantankerous nature.

I guess the yanks like it as a portrait of rugged individualism persisting until near the end of life. For me, aged 70 and knowing people into their 90s, Its unrealistic and tedious.

Not laugh-out-loud funny, just the odd situational chuckle. The slapstick (people vomiting and toilets overflowing during the storm) wan't particularly notable.

Much too long, should have had at least 20 mins trimmed.

No idea why it won the Palme d'Or. Did the Cannes crowd think it was somehow 'edgy' cos it poked mild fun at the super-rich and hinted at a social critique?

Could have been much better, as it had some interesting themes around class and inequality which could make a more punchy satirical comedy, but it just lost its way - particularly after the shipwreck.