Tag Archives: Cinema

MY CINEMATIC ROMANCE #16 – JODIE FOSTER

MY CINEMATIC ROMANCE #16 – JODIE FOSTER

Having recently caught the underwhelming B-movie crime movie, Hotel Artemis (2018), on Sky Movies, I was suddenly reminded what a brilliant actor Jodie Foster is. She has been around for years so it’s easy to take for granted what a consummate performer and on-screen creator she is. Indeed, her sterling work held Hotel Artemis‘ weak narrative together; as she gave a nuanced and clever portrayal of a morally ambiguous medical professional.

Foster is an actor, director and producer who has received two Academy Awards, three BAFTAs, two Golden Globes and countless other nominations recognizing her screen skills and brilliance. She is one of those rare actors, like Ethan Hawke, who has transcended child stardom and become a prolific performer in adulthood too. Here are, in keeping with the rules of this feature, FIVE stand-out Jodie Foster roles that I can highly recommend you watch.

**MAY CONTAIN SPOILERS**

TAXI DRIVER (1976)

Already boasting acting heavyweights such as Harvey Keitel and Robert De Niro, this existential classic finds Foster as a teenage prostitute, Iris. It was a very risky role for all concerned, especially as Foster was only twelve at the time. However, it is one of the greatest child performances of all time, with Foster bringing vulnerability, toughness, smarts and pathos to girl lost on the mean streets of New York seeking salvation.

THE ACCUSED (1988)

Foster’s incredible performance as Sarah Tobias deservedly won her a first Academy Award. Tobias’ character is the victim of a brutal gang-rape and the film sets about to highlight the savagery of men and the injustices of the legal system. I have not seen this film in years but I will never forget Foster’s steely and emotional acting tour-de-force, plus the physical and mental bravery she committed to the stunning portrayal.

SILENCE OF THE LAMBS (1991)

If I didn’t include her role of Clarice Starling then I would need my head examined. Obviously, NOT by Dr Hannibal Lecter, I must add. Indeed, while Anthony Hopkins gets much kudos for his startling turn as no one’s favourite chef, it’s Foster’s sterling work which glues the film together. All in all it’s almost a perfect genre film which owes much to Thomas Harris’ fine characterisations of Lecter and Starling and Jonathan Demme’s excellent direction. Nonetheless, Foster brings the tough, determined, yet vulnerable, FBI rookie to life brilliantly; and her scenes with Hopkins spark, scare and thrill especially.

CONTACT (1997)

I wasn’t a massive fan of this film when it was first released. That was because I was expecting something more action-based akin to Robert Zemeckis’ previous body of work. However, Contact, on subsequent views is an emotionally rich and intelligent look at religion, science and contact with extra-terrestrials. Foster is Dr Ellie Arroway, a scientist who utilises radio signals to chart potential alien signals in space. In a role which doesn’t exclusively find her life in danger, Foster is able to show her range as an intelligent, heartfelt and sensitive character. As such Dr Arroway is, amidst the vast expanse of space and time, ultimately searching for that all-encompassing and universal desire: love.

INSIDE MAN (2006)

I love this heist film because it has so many brilliant aspects; notably one of the cleverest twists in recent movie history. Spike Lee directs in confident style, with Denzel Washington and Clive Owen excellent as the lead cop and main criminal, respectively. Jodie Foster steals her scenes as a feisty and venal fixer brought in by Christopher Plummer’s bank owner, to handle a more “delicate” element of the robbery. I liked that Foster chose a less heroic character to portray, as she struts and sells her services to the highest bidder. Ultimately, her Madeleine White is anything but white; instead she’s a black-hearted vulture, dealing with the greedy capitalists and politicians of first-world Manhattan.

UNDER-RATED CLASSICS #4 – TRIANGLE (2009)

UNDER-RATED FILM CLASSICS #4 – TRIANGLE (2009)

Written and directed by: Christopher Smith

Produced by: Jason Newmark, Julie Baines, Chris Brown

Starring: Melissa George, Michael Dorman, Rachael Carpani, Henry Nixon, Emma Lung, Liam Hemsworth

Music by: Christian Henson

Cinematography: Robert Humphreys

**MAY CONTAIN SPOILERS**

I started this series a while ago and posted a few times on the subject with multiple entries; however, I have now decided to make it a feature, like ‘Classic Movie Scenes’, that concentrates on singular films. My rules are simple. An under-rated classic can be a film I love, plus not be one of the following:

  • Must not have won an Oscar.
  • Must not have won a BAFTA.
  • Must not appear in the AFI Top 100 list.
  • Must not appear in the IMDB Top 250 list.
  • Must not appear in the BFI 100 Great British films.
  • Must not appear in the all-time highest grossing movies of list.

So, here’s a film, called Triangle (2009) which I recently caught again on the Horror Channel and given the critical acclaim many films get, I just cannot work out why this isn’t considered more of a classic.

This is an absolute cracker of a Sisyphean-time-loop-paradox-movie. Melissa George portrays a single mother hoping to escape her stress with a yacht trip with wealthier friends. However, things don’t go according to plan as a massive storm knocks the group way off course.

Without giving anything away this film then went into a loopy and gripping direction with an exceptionally clever criss-cross narrative. The plot is both ingenious and creepy as violent events and startling deaths begin to mount up. Melissa George carries the film incredibly well with a performance which crackles with pathos and fear. Lastly, director/writer Christopher Smith’s work should have heralded more illustrious and bigger budget films based on this incredible existential horror classic.

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

MARVEL AVENGERS: ENDGAME (2019) – MOVIE REVIEW

Directed by: Anthony Russo & Joe Russo

Produced by: Kevin Feige

Screenplay: Christopher Markus and Stephen McFeely

Based on The Avengers by Stan Lee & Jack Kirby

Starring: Robert Downey Jnr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin and many, many more.

Music by: Alan Silvestri

Cinematography: Trent Opaloch

Edited by: Jeffrey Ford and Matthew Schmidt

Production Company: Marvel Studios

**RELATIVELY SPOILER FREE REVIEW**

So, we are finally here; assembled and ready to experience the last battle in this particular phase of Marvel films. Twenty-two movies released over an eleven year period now culminate in the adroitly named: Avengers: Endgame. While they may have all the money in the multiverse backing their superhero endeavours, Marvel deserve much credit for releasing so many great films within the eleven year cycle. Yes, of course many have followed a tried and tested genre formula, however, their legion of production staff, producers, directors, writers and actors did whatever it took to entertain the public.

This final film was set up perfectly by what preceded. I mean, the dust had not even settled at the end of Infinity War, and I, along with many others, were agog at the crushing defeat suffered by our heroes and Earth, at the click of Thanos’ finger and thumb. Thanos had achieved the impossible and obtained the six soul stones and eradicated fifty per cent of the population. This tragic genocide included many of the Avengers we had grown to root for and Endgame begins where its predecessor finished. Here we find a depleted and dejected Avengers team on Earth and a barely surviving Tony Stark in space facing the abyss. Collectively they are hurting, grieving and feeling vengeful.

The sombre and angry tone to the opening of the film was something I was drawn to. Emotionally it made sense to, within the first hour, colour the film with a slower, mournful pace and darker mood. This is encapsulated in the character of Hawkeye, who is using his special set of skills for destructive and nihilistic purposes. Similarly, Thor is twisted into a self-pitying anti-god; and this plays out with both surprise and humour. Of course, the remaining Avengers are not going to lie down for three hours in a reflective study of sorrow. Because, they want their friends and the population of Earth back; and they will do whatever it takes to achieve this goal.

The middle part of the film is where the narrative really gathers pace. Once Stark, Bruce Banner and Scott Lang/Ant Man discover a means with which to somehow alter the tragic events, we are thrown into many imaginative and entertaining set-pieces. I was so pleased Paul Rudd was back as Ant-Man in a key role. He is such a likeable and funny actor who always brings sharp comedy timing and warmth to his roles. Further, like Lang, Karen Gillen as Nebula, while seemingly a secondary character, plays an important role in Endgame. In more ways than one Nebula becomes a vital cog in the intricate and multi-stranded plotting.

The various Avengers including the aforementioned and: Black Widow, Captain America, War Machine and Rocket etc. all splinter to different places in order to achieve their mission. Here the film really finds a perfect pace and stride, delivering a series of brilliant action scenes. Indeed, Endgame is full of brilliant cross-cutting call-backs to the previous Marvel films; presenting a multitude of ‘Easter Egg’ or inter-textual moments.

Safe to say the action unfurls rapidly but the writers also have the confidence to slow the pace and allow several key emotional moments for certain characters. But, mostly there is action and fighting and humour and just so many memorable moments of a light and dark tone. My personal favourite was during Captain America’s mission; this plot strand just sang and hit so many high notes.

I am striving hard to avoid spoilers here, so all I can add is that the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion. I just loved the direction they took it in regard to the temporal, spatial and universal narrative choices. They assembled, pushed and pulled the formula in certain ways which surprised and kept the characters vibrant and fresh. The tonal balance was positive and only ever slightly threatened to slip into parody; mostly with Chris Hemsworth’s depressed rendition of Thor. My only gripe was I felt Brie Larson’s effervescent Captain Marvel was sadly under-used.

Unsurprisingly, the final gigantic battle sequences were expected but still delivered on a massive scale. Thanos is, and was, a mighty enemy and the last war against him and his hordes were full of epic surprise, pulsating action and heartfelt emotion. Undeniably, it was a most spectacular and moving climax. Thus, overall, I am actually shocked at how much I enjoyed a bunch of superheroes made of computer pixels larking about on a big screen. Maybe, however, given the time, money and energy spent over the last eleven years by the filmmakers and audience alike, it was, like Thanos, inevitable!

Mark: 9.5 out of 11

THE CINEMA FIX PRESENTS APRIL FILM ROUND-UP INC. REVIEWS OF: GRETA, LOVE, DEATH & ROBOTS, TRIPLE FRONTIER ETC.

THE CINEMA FIX PRESENTS: APRIL FILM REVIEW ROUND-UP

With Avengers: Endgame (2019) dominating the cinemas at the moment, I thought I’d let Marvel’s magic dust settle BEFORE seeing that blockbuster this weekend. However, during April I caught a few other newer releases at the cinema and online via Netflix. Thus, here are some mini-reviews with the usual marks out of eleven.

**MAY CONTAIN SPOILERS**

GRETA (2018) – CINEMA – DIRECTOR: NEIL JORDAN

Neil Jordan has an impressive directorial curriculum vitae, including genuine classics such as: Mona Lisa (1986), The Crying Game (1992) and The End of the Affair (1999). Greta is arguably not a patch on them; however, I really enjoyed this B-movie stalker narrative. This is mainly due to a fine cast headed by Isabelle Huppert, Chloe Grace Moretz and Maika Monroe.

Huppert exudes Gallic charm and quiet menace as the obsessive and lonely Greta. Furthermore, as her behaviour becomes more unhinged Jordan wrings every bit of tension from the lean and thrilling script. Seamus McGarvey’s cinematography also adds class to a very entertaining ninety-eight minutes.

Mark: 8 out of 11

LOVE, DEATH & ROBOTS (2019) – NETFLIX – DIRECTOR(S): VARIOUS

This anthology of eighteen animated short films was curated by Joshua Donen, David Fincher, Jennifer Miller and Tim Miller. Produced by various crews from a range of countries, the series is a re-imagining of Fincher and Miller’s long-planned reboot of animated sci-fi film Heavy Metal (1981). Firstly, I love short films and have watched a lot over the last ten years, and I don’t mind animated stuff either.

In Love, Death and Robots the animation, graphics, action, editing, composition and imagery on show here are incredible. The stories themselves are hit and miss; with some actually feeling over-sexualised and retrogressive. Nonetheless, the production values on show raise the bar so high it masks some of the generic writing and weak characterisation. Lastly, there are some brilliant shorts and my favourites include: Three Robots, Shape Shifters, Zima Blue, Ice Age and the very funny Alternate Histories.

Mark: 8 out of 11 (averaged score)

OUTLAW / KING (2019) – NETFLIX – DIRECTOR: DAVID MACKENZIE

According to Wikipedia this historical epic about Scottish nobleman, Robert the Bruce, cost $120 million to make. It’s a shame so much money was wasted because technically speaking the production is an absolute tour de force. It’s a pity the script and narrative are so bereft of intrigue, suspense and character relatability. Yes, I get that the English are bad and the Scottish must stand up to defeat their nefarious “landlords”, but unlike the far more theatrical and entertaining, Braveheart (1995), this all felt irrelevant.

I thought Chris Pine, who is a charismatic movie star, lacked personality in the lead, and Florence Pugh, as his wife, was given little to do apart from run away then get kidnapped. Aaron Taylor-Johnson was fantastic as a bloody revenging Scottish rebel-lord; as was David Mackenzie’s incredible direction of the impressive battle scenes. I have read that the film was hacked to pieces and what is on show is a hung-drawn-and-quartered cut of a longer film. Perhaps, one day we will see a true version of Outlaw / King and Mackenzie’s vision will be properly represented.

Mark: 6 out of 11

TRIPLE FRONTIER (2019) – NETFLIX – DIRECTOR: J.C. CHANDOR

Not quite a dirty dozen but a filthy five as former soldiers and military contractors including: Oscar Isaac, Ben Affleck, Charlie Hunnam, Garrett Hedlund and Pedro Pascal, gang together to rob a drug baron’s fortress holed up deep in the South American jungle.
The story has all the hallmarks of a testosterone-driven-men-on-a-mission-genre classic, but just when I thought it was going in a certain direction, the ending under-mined much of the previous compelling action.

The cast are very impressive though and they more than make up for any deficiencies in the thin characterisations. Similarly, while it starts slowly, once we get into the heist J.C. Chandor’s methodical directorial style really comes into its’ own. Chandor creates a lot of tension during and after the robbery as events twist out of control. Thematically, I thought this was going to become a modern day version of 1948 masterpiece, The Treasure of Sierra Madre. Indeed, if the drug money they steal had become a true threat to test the friends’ loyalty and courage under fire, I would have marked this thrilling film higher.

Mark: 8 out of 11

UNICORN STORE (2018) – NETFLIX – DIRECTOR: BRIE LARSON

This is a very odd film. However, if you pick through the bones of the whimsical script, the rainbow-baubled art direction and Brie Larson’s eccentric child-woman, you’ll find a rites-of-passage genre film in there somewhere. Larson directs herself as the immature narcissist, who having been kicked out of Art College begins a dead end temp job to try and appease her parents. So far so relatable.

However, the film twists into symbolic fantasy when she is offered,
by Samuel L. Jackson’s enigmatic ‘Salesman’, the dream opportunity of owning a Unicorn. WTF!!?! I enjoyed a lot about the film, notably the Napoleon Dynamite (2004) style humour; plus Larson and Mamadou Athie’s performances stand out. Overall though, I got that the Unicorn was an allegory for human maturation but I personally felt the narrative was slow and stretched despite fine work from the very talented Larson.

Mark: 6 out of 11

CLASSIC MOVIE SCENES #7 – ‘FLAMENCO DANCE’ SCENE – HAPPY GO LUCKY (2008)

CLASSIC MOVIE SCENES #7 – ‘FLAMENCO DANCE’ SCENE – HAPPY GO LUCKY (2008)

Directed and written by: Mike Leigh

Produced by: Simon Channing Williams

Cast: Sally Hawkins, Eddie Marsan, Alexis Zegerman, Andrea Riseborough, Karina Fernandez etc.

Music: Gary Yershon

Cinematography: Dick Pope

**CONTAINS SPOILERS**

While I’m a massive fan of Mike Leigh’s body of work, I disliked Happy Go Lucky (2008) when I first saw it. I think I must have been in a bad mood or just did not get it. Maybe, on first watch, I felt it was an inconsequential film when compared to his others?

However, having re-watched it a couple of times in the last year I must admit I have completely changed my mind about it. Indeed, Sally Hawkins’ characterisation and acting as Poppy Cross is a joy.

In the ‘Flamenco Dance’ scene we find Poppy joining a dance class for what she hopes is a bit of fun and exercise. The teacher, passionately portrayed by Karina Fernandez, is Poppy’s opposite in terms of intensity and seriousness. This is all meant to be a bit of a laugh as Hawkins’ wonderful facial expressions suggest.

Yet, while the scene begins humorously it ends rather embarrassingly as the Flamenco teacher has a hell of an emotional meltdown in front of the class. I love this scene because of Hawkins’ sly performance juxtaposing with Fernandez’ heartfelt breakdown; all of which captures wildly different emotions in a short period of time.

UNDER-RATED FILM CLASSICS #3

UNDER-RATED FILM CLASSICS #3

Eight years ago I wrote some articles for a nifty little website called Obsessed with Film. The site was independent and would have some geeky and interesting articles on film and television. Years later the site became the click-bait-pop-ups-from-hell-advertising-led-but-still-not-too bad: www.whatculture.com

Anyway, one of the articles was about some “forgotten” films or, as I shall refer to them, under-rated film classics. Basically, I listed films which I felt were deserving of further praise or viewings. The first list and subsequent list included: Bad Santa (2003), Dog Soldiers (2002), Chopper (2000), Midnight Run (1988), Tremors (1990), Locke (2014), Dead Man’s Shoes (2004) and many more.

My rules are simple. An under-rated classic can be a film I love plus not be one of the following:

  • Must not have won an Oscar.
  • Must not have won a BAFTA.
  • Must not appear in the AFI Top 100 list.
  • Must not appear in the IMDB Top 250 list.
  • Must not appear in the BFI 100 Great British films.
  • Must not appear in the all-time highest grossing movies of list.

So, with these criteria in mind I present a further sequel to my previous article with another set of under-rated film classics. If you have any suggestions that fit the criteria please do let me know and I will include them on my next list.

**CONTAINS SPOILERS**

BEFORE I WAKE (2016)

Before I Wake tells the moving story of an orphaned boy fostered by Thomas Jane and Kate Bosworth’s grieving parents. This was a dream-like and touching tale with a powerful element of horror which benefits from great performances by Bosworth and Jacob Tremblay. I imagine I’m the only person who actually rates this film but I think, despite some plot issues, it remains a beautiful hidden movie gem.

DREDD (2012)

After the mostly horrendous Sylvester Stallone starring Judge Dredd adaptation, Karl Urban subsequently stepped into the boots of the ruthless cop hell-bent on bringing justice to Mega City One. It’s a lower budgeted, but tremendous action thriller with Dredd battling nefarious druglords in a fortified tower block complex; led by a grand turn from Lena Headey. Violent and darkly humorous, Dredd was not a box-office success, but it was short, sharp and loud with Urban, keeping his visor firmly to his face, giving a steely performance as the grizzled, veteran law-keeper.

GOODBYE CHRISTOPHER ROBIN (2017)

This British independent period drama is not something I would usually go for. It’s a period drama and biopic about Winnie the Pooh creator A.A. Milne and while these films are often by-the-numbers, this rendition of his life post World War I is a touching and emotionally heart-warming narrative. Thematically it is very strong with evocation of the post-traumatic stress Milne suffered after returning from war, plus the negative effect fame had on his family when his books became bestsellers. Domnhall Gleeson, Kelly Macdonald and Margot Robbie shine in their respective roles, but Will Tilston as young Christopher Robin/Billy Moon is a revelation as Milne’s young son.

THE MIST (2007)

Frank Darabont had tremendous success with a number of Stephen King adaptations, notably the now revered The Shawshank Redemption (1994). But, his rendition of King’s The Mist is an equally powerful movie. Starring: Thomas Jane, Marcia Gay Harden, Toby Jones, Laurie Holden and Darabont regular, Jeffrey DeMunn, the film centres on the aftermath of a violent thunderstorm in Bridgport, Maine. As townsfolk get trapped in a supermarket, any attempt at escape is prevented by a monstrous presence in the mist. With the supermarket representing a microcosm of humanity, the film poses the idea that religious fanatics are as much a threat as the aliens outside; with Marcia Gay Harden on ferocious form as the lead zealot. Thrilling and dark, The Mist is relentlessly frightening with a jaw-dropping ending.

THE OTHER GUYS (2010)

Adam McKay’s silly genre movie is an entertaining comedic cop film parody, thrilling action spoof and, on occasions, full of smart social commentary. It begins with an incredible chase sequence involving hero cops played by Samuel L. Jackson and Duwayne Johnson; only they are NOT the main protagonists because they are soon dispatched very early in the story. Enter the mismatched duo of Will Ferrell and Mark Wahlberg as the eponymous anti-heroes who pursue Steve Coogan’s crooked CEO. Further, McKay has digs at money-men who manipulate the stock market to save their dishonest hides. With a twisting narrative, brilliant running gags and Wahlberg and Farrell’s stupendous double act, this is a highly memorable comedy full of stupidity, hilarity and style.

PHANTASM (1979)

Phantasm is a synthesis of genres from rites-of-passage, suspense, horror and science fiction.  Ultimately, it’s the epitome of a cult classic and a triumph of concepts over finance. It’s full of mood and atmosphere and has a creepy synth-based soundtrack that cranks up the fear factor. Director Don Coscarelli created an imaginative fantasy concerned with death and mourning that has stood the test of time. It may lack the polish of big budget productions but the scares and surrealism reminded me of the works of Italian horror-master Lucio Fulci and Spanish filmmaking genius Luis Bunuel. It’s a film I would wholly recommend for devotees of horror and for those who like their movies raw, inventive and nightmarish.

PUSHER II (2004)

Pusher II is even more relentlessly grim than the original featuring all manner of dumb, lower-class hoods trying to scrape gold from Copenhagen streets paved mainly with heroin and blood. It’s an unglamorous and honest realisation of criminal-life as low-level drug pushers fuck one another over on a regular basis. Mikkelsen’s Tonny is a tragic character, who is left rudderless by a manipulative father and just cannot cut a break due to both his own lack of intelligence or positive role models.  Never has there been so much sympathy for a movie thug like Tonny as Mikkelsen extracts every bit of humanity he can from the poor beast.

RUNNING SCARED (2006)

This Paul Walker starring crime thriller is a proper B-movie and arguably isn’t even that good. Indeed, it does seem to fall into that sub-Tarantino narrative bracket. However, every time I have watched it I have been glued to the twisty plot and violent gun-play. Walker is the low level mobster in New Jersey, who, after a drug deal goes wrong, must locate an incriminating and missing hand-gun, or face a violent death. I think it’s the frantic pace and action that’s full of surprises and punchlines which kept me enthralled; and despite the generic nature of the story I really rate it as a proper guilty pleasure.

SNOWPIERCER (2014)

Cruelly buried by the Weinstein studio on initial release, this under-rated graphic novel adaptation is absolutely brilliant. Set in an apocalyptic future, the train becomes an analogy for class struggle between the haves and have-nots. The action is relentless as it depicts the working class struggle. Their revolution occurs with Chris Evans’ character leading the hungry poor to the top of the train where the rich and privileged live a life of luxury. Bong Joon-ho directs Evans, Jamie Bell, Octavia Spencer and Tilda Swinton expertly, as the film marries social commentary and blistering action with aplomb.

STOKER (2013)

Written, surprisingly enough, by Wentworth Miller, the lead actor from Prison Break, this is a subtle and bleak contemporary Southern Gothic tale. Directed by genius filmmaker Park Chan-wook, it stars Mia Wasikowska, Nicole Kidman and the under-rated Matthew Goode as a dysfunctional family unit who all have secrets to hide. While the film moves slowly it creepily spreads a steady flow of dread as we never quite know which character holds the biggest threat. Inspired by Hitchcock’s Shadow of a Doubt (1943), this psychological thriller is full of death, grief and mystery and if you prefer slow-burn suspense this is definitely a film for you.

EVERYBODY KNOWS (2018) – CINEMA REVIEW

EVERYBODY KNOWS (2018) – CINEMA REVIEW

Directed by: Asghar Farhadi

Produced by: Alexandre Mallet-Guy, Alvaro Longoria

Written by: Asghar Farhadi

Starring: Javier Bardem, Penelope Cruz, Ricardo Darin, Barbara Lennie etc.

Cinematography: Jose Luis Alcaine

**MAY CONTAIN SPOILERS**

Asghar Farhadi is one of those filmmakers whose work is always of the highest quality. For some reason I actually missed seeing his prior film The Salesman (2016), so definitely need to catch up with that. However, The Past (2013) and A Separation (2011) were both compelling human dramas. A Separation, in fact, was one of the best films I have seen in the last decade. It took everyday scenarios involving as divorce and class conflict and spun a heartfelt, intense and intelligent narrative which was emotionally very powerful. While Farhadi was born in Iran and his early works are based there, his oeuvre transcends geography; projecting visions of humanity which stay with you way after the film has ended.

Farhadi’s eighth feature as a director is arguably his most accessible and while not reaching the dramatic heights of his previous films, remains a very solid personal drama. Everybody Knows concerns a large family unit converging for a wedding celebration in Spain. The setting is a small town set amidst beautiful countryside just outside Madrid. It’s the kind of place where everybody knows each others’ business and the community, while seemingly convivial on the outside, carries class, family and business conflicts under the surface.

The film begins with Laura driving her children, notably teenage Irene, back to the town where she was born. The wedding celebrations ensue until terror strikes and Irene is stolen in the night by unknown assailants. Forbidden from contacting the police by the kidnappers, Laura, her family and former childhood boyfriend, Paco (Javier Bardem), desperately seek to find Irene before tragedy occurs. It isn’t long before history converges on the drama and past events involving stolen land and romantic affairs threaten to destabilise the whole town.

With Penelope Cruz and Javier Bardem cast as your leading protagonists, and the brilliant Ricardo Darin in support, you’re always guaranteed an enthralling screen experience. Nonetheless, what is so impressive in the performances and direction is they feel like real people with proper emotions, not simply starry versions of themselves emulating reality. Moreover, Farhadi concentrates on the human aspects of the story rather than the crime, as the characters, relationships and town itself begin to unravel. Further, while the film may lack his usual socio-political subtext, Farhadi really pulls you into the drama, as secrets and revelations are unearthed throughout. Overall, this is a consistently watchable piece of cinema that keeps up Farhadi’s impressive hit-rate, while perhaps feeling more familiar and generic compared to the other films of his I have seen.

Mark: 8 out of 11