Showing posts with label Sam Riley. Show all posts
Showing posts with label Sam Riley. Show all posts

Friday, 15 October 2021

Radioactive (2019)


 

The story of Marie Sklodowska-Curie and her Nobel Prize-winning work that changed the world. 

Mediocre and cursory bio-pic suffers from a loveless direction and a dubious and in some details simply offensive indifference to the historical facts; Pike's performance is blameless, though.



Thursday, 16 January 2020

Suite Française (2014)



During the early years of Nazi occupation of France in World War II, romance blooms between Lucile Angellier, a French villager, and Bruno von Falk, a German soldier.

Well-made period melodrama with a good cast is more successful depicting a French community under Nazi occupation than with its romance, but does so with some suspense.


Sunday, 8 September 2019

Das finstere Tal (2014)




Through a hidden path a lone rider reaches a little town high up in the Alps. Nobody knows where the stranger comes from, nor what he wants there. But everyone knows that they don't want him to stay.

Surprisingly accomplished period tale, excellently styled and photographed as a modern-day Spaghetti Western in the cold mountains of the Alps, with a capable cast; one would wish there were more such assured cinemtic productions from Austria and Germany.


Tuesday, 28 May 2019

Free Fire (2016)



Set in Boston in 1978, a meeting in a deserted warehouse between two gangs turns into a shoot-out and a game of survival.

Basically one long drawn-out shoot-out is decently staged; combined with a colorful cast of characters it holds one's interest to the end. 


Thursday, 11 August 2016

Brighton Rock (2010)



In 1964 the enforcer of a Brighton gang, murders a man, who has himself killed the gang leader, then a young waitress who witnessed the gang's activity, to keep an eye on her.

Stylish and wonderfully photographed in a Noir style in some great set pieces the movie can't quite convince with its shoddy hoodlums (you never really see what their actual business is), and the protagonist's motives are hardly comprehensible.

Maltin**: "Sometimes affecting but too often clinical revision of Graham Greene's 1938 novel...Mirren steals the show as the girl's wordly employer. Writer-director Joffe manages to appropriate many film noir tropes but the leading characters are so off-putting it's to no avail."