Roofman (2025)

Posted on October 16, 2025December 7, 2025 by Martin: Through the Silver Screen

Roofman – Film Review

Cast: Channing Tatum, Kirsten Dunst, Peter Dinklage, LaKeith Stanfield, Juno Temple, Ben Mendelsohn

Director: Derek Cianfrance

Synopsis: After breaking out of prison, a former soldier and professional criminal on the run from the police seeks to avoid detection from the police by hiding in a branch of Toys ‘R’ Us…

Review: Upon hearing a film entitled Roofman, you might well think that without any prior knowledge, it would be the latest attempt to capitalise on the popularity of the superhero genre, especially one of the more obscure variety. Yet, this actually does not draw inspiration from the pages of a comic book and is emphatically not about a hero of any description. Incredulously, it is based on the bizarre true story of the escapades of a former soldier turned criminal and a rather ingenious plan he devises to avoid being caught.

It is the late 1990s, and Jeffrey Manchester (Tatum) is a divorced US Army veteran struggling to provide for his three young children. Acting on the advice of his army colleague Steve (an underutilised Stanfield), he uses his powers of observation and ability to take advantage of routines to break into more than three dozen McDonald’s restaurants to steal cash from the safe, giving the morning shift employees the fright of their lives. Earning the nickname of “The Roofman” via the media, he is eventually caught and sent to prison. While locked up, he uses his meticulous eye for routines to escape prison and to avoid detection by the law, choosing to lay low by hiding in a Toys R Us store for months, completely unbeknownst to the store’s employees.

Derek Cianfrance is no stranger to finding humanity in the life of someone who is forced to turn to crime as a means to support individuals he so dearly loves, albeit from a distance. Therefore, Cianfrance and Gunn’s screenplay has a deft balancing act to find a way to sympathise with Manchester, in spite of his criminal antics. Fortunately, when you have an actor as charismatic and as likeable as Tatum is, that is certainly going to do a lot of the heavy lifting. Yet, it is evident that though he resorts to stealing to financially provide for his children, he is not the sort of ruthless criminal who would enter a store all guns blazing with no care for who could get hurt, quite the opposite as he goes out of his way to ensure the employees he encounters are safe and comfortable, shortly before locking them in a walk-in freezer.

The film is certainly at its most enjoyable and gleefully silly when depicting Manchester’s antics in the store. He uses an ingenious way to keep a watchful eye over the store and its employees to ensure that the coast is clear. Furthermore, when he knows he has the entire store all to himself, the antics he gets up to with all the toys in the world at his disposal to play with and living off candy, essentially living any child’s dream. He really is one big kid, and those who grew up in the 1990s and 2000s will certainly get a great big dose of Toys R Us nostalgia.

Never is Jeffrey’s kind heart more evident than when he escapes the confines of his hideout in the store and makes his way into the local community, where he meets and quickly falls in love with Leigh (Dunst). Leight is a working mum with two daughters who recently went through a divorce, and also happens to work at the very same store Manchester is hiding in, and has to deal with an unforgiving boss in Peter Dinklage’s Mitch. Having gotten into his criminal life out of a desire to take care of his kids, it is easy to want to root for him as he tries to make a positive impression on Leigh’s daughters, and the chemistry between Tatum and Dunst is sincere and delightful to watch. Given his status as a wanted fugitive, you know it is not going to be a lasting relationship, but it is easy to root for them and, against all odds, find a way to make it work.

Despite being someone whose heart is in the right place and who strives to be the perfect family man, unfortunately, he is not that. As endearing as Tatum’s performance is, the film is a little too kind to him and completely overlooks the fact that he got himself into his current predicament for a reason. The phrase “don’t do the crime if you can’t do the time” comes to mind. Despite this mishap, Cianfrance brings plenty of humanity, humour and heart to this stranger-than-fiction tale that will make you laugh, smile and also make you wish you could transport yourself back to the 2000s, or back to being a kid again and having that wide-eyed look of wonder on your face when you walk into a toy store. Simpler times.

It could have certainly been much more critical of its leading man’s misdeeds, but thanks to Tatum’s witty and sincere performance and the hilarious shenanigans that ensue, this witty comedy crime caper will cut a hole in the roof of your heart and win you over.

2020-2029, Film Review, London Film Festival 2023

Killers of the Flower Moon (2023)

Posted on October 17, 2023February 5, 2025 by Martin: Through the Silver Screen

© Apple Films, Paramount Pictures and Imperative Entertainment

Killers of the Flower Moon – Film Review

Cast: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, Cara Jade Myers, Jillian Dion

Director: Martin Scorsese

Synopsis: Telling the true story of what became known as “The Reign of Terror” where a series of murders of members took place in the 1920s against of the Osage Native American tribe in the 1920s, sparking a major law investment investigation…

Review: The 1920s, or the Roaring Twenties, was defined by economic prosperity across Western society where certain sections of the population gained enormous wealth. However, as history has shown us time and time again, for some people, the wealth they have acquired is somehow never enough. They are driven by insatiable greed, which as the trailer summarised is “an animal that hungers for blood” and will be willing to commit appalling acts of violence to obtain such wealth. It is this greed and corruption, as well as a series of brutal murders which forms the basis for the latest epic from one of cinema’s greatest living directors.

Ernest Burkhart (DiCaprio) returns to Osage County, Oklahoma after serving in the First World War. In 1898, the discovery of huge quantities of oil underneath the land belonging to the Osage Native American tribe instantaneously made them some of the richest people in the world. Yet, the possession of this wealth provokes the Caucasian members of the community to conspire against the Osage tribe, to swindle them out of this money so that the wealth can come to them. To that end, Burkart is persuaded by his ruthless uncle William Hale (De Niro), to marry Osage member Mollie Kyle, so that were anything to happen to Mollie’s family, the lucrative wealth of this oil money would be passed on to Burkhart, and by extension, Hale.

Based on the book of the same name by David Grann, the screenplay by Scorsese and Eric Roth frames its story from the perspective of the Osage people. We see through their eyes how the viciousness, corruption, greed, as well as white supremacy, drove people to systematically kill off the Osage community. As one Osage leader puts it “they’re like buzzards circling our people”. Over 206 enthralling minutes, the film combines the love story between Mollie and Ernest, the central plot to eliminate the members of the Osage community, and the ensuing Bureau of Investigation (BOI) inquiry into the murders.

Marking the sixth collaboration between himself and Scorsese, DiCaprio is excellent as Burkhart. On the surface, he comes across as a bit dim-witted and extremely naive. Yet, he is also ambitious and is spurred on by his uncle to do some truly terrible things all in the name of acquiring more wealth. Even though she could sense from the start what his ulterior motive was, the romance between him and Mollie is genuine and causes Burkhart to be severely conflicted about the plans his uncle has put in place. In what is De Niro’s tenth feature film collaboration with his long-time friend, he is as thoroughly loathsome and reptilian as Hale. On the outside, he comes across as this charming and friendly soul towards the Osage. Yet, on the inside, he spouts white supremacist ideology which feels eerily reminiscent of modern times. It’s a scaled-back performance in many respects, as he does not need to raise his voice to cause other characters, especially Ernest, to be immensely afraid of a deadly reprisal given the power he holds in the region. Both actors have become Scorsese’s muses over the course of his glittering career, and to see them act opposite each other in a feature film for the first time is a special sight to see.

However, both are outshone by the film’s heart and soul, Lily Gladstone’s Mollie. She initially displays a quiet and restrained performance, even as members of her family and the Osage are being killed. Yet, as the film progresses, that restraint turns into something much more potent and fiercer when it comes to seeking justice for those Osage members who have been cruelly murdered, which results in the Bureau of Investigation sending agent Tom White (Plemons) down from Washington D.C. to lead an inquiry into the murders.

Having been given the largest-ever budget on a Netflix film with his previous film, Scorsese has followed suit with his move over to Apple (with a reported budget of $200m) and the results are as immaculate as one would expect. The filmmakers worked extensively with the Osage tribe to ensure authenticity and were permitted to shoot in areas where the events depicted happened. Similarly, the length gone to recreate genuine Osage costumes, particularly the blankets, demonstrates the tremendous level of care which went into the production. It gives the Osage community a voice which history has often tried to silence. Under the trusted eye of his regular collaborator Thelma Schoonmaker, the film’s editing is meticulous and keeps the film’s pace briskly moving along so that those 206 minutes whistle by, reinforcing the idea that no film is too long if it is paced correctly. Having served as cinematographer on his films since The Wolf of Wall Street, Rodrigo Prieto’s cinematography is visually striking in capturing the Oklahoma oil fields bathed in sunshine and when required, shifts gear when it comes to the abject horror the Caucasian community wrought upon the Osage.

He might have now reached the age of 80, but for Scorsese age is clearly just a number. He continues to not let his age get in the way of producing stunning pieces of cinema which can shine a spotlight on an important piece of US history that should never be forgotten. It reminds the audience of the horrors and evils that can come with rampant corruption and greed, a lesson which still holds true in modern society. Cinemagoers across generations have been able to watch a master at work for over 60 years, and for that, we can be immensely grateful.

An epic and all-encompassing rumination on the perils of rampant greed, the ugliness of white supremacy and the US’s shameful history when it comes to the treatment of the Native American people. Another stunning achievement from one of the best directors cinema has ever seen.

2020-2029, Film Review

The Batman (2022)

Posted on February 28, 2022August 8, 2025 by Martin: Through the Silver Screen

The Batman – Film Review

Cast: Robert Pattinson, Zoë Kravitz, Paul Dano, Jeffrey Wright, John Turturro, Peter Sarsgaard, Andy Serkis, Colin Farrell

Director: Matt Reeves

Synopsis: In his second year of crime-fighting in Gotham City, Batman begins to investigate a series of crimes that appear to be connected to a serial killer known as The Riddler…

Review: Ever since the character of Batman made his comics debut in 1939, there has been something inescapably appealing about this iconic character. It’s a testament to Batman’s creators Bob Kane and Bill Finger, that in the ensuing decades, his popularity has not waned (pun absolutely intended). For generations of comic book fans, he has remained arguably the most recognisable and popular superhero of all time. Given the character’s popularity, it’s no surprise that numerous directors have taken on the challenge of adapting him for the big screen. Over the years, we’ve seen the sublime and the ridiculous. Now, under the vision of Matt Reeves, a fantastic new interpretation of the Dark Knight has been born.

Bruce Wayne (Pattinson) is in his second year of fighting crime in Gotham City as the masked vigilante known as Batman. Gotham is a city that’s seemingly trapped in perpetual rainfall, combined with the murky cloud of the city’s extensive criminal underworld. It’s a grim combination that gives Gotham an ominous, foreboding atmosphere, where crime is running rampant and the police are overwhelmed. When a series of brutal murders start taking place in the city, Batman and the Gotham City Police Force begin to investigate. As they begin to piece together the sadistic clues left behind at these grisly crime scenes, they begin to uncover evidence that all of these crimes are linked to a masked serial killer known only as The Riddler.

Donning the Bat’s cape and cowl is an extraordinary responsibility for the actor to take on. Many great actors have taken on this challenge, and every time, each one has brought something unique to the role. With Pattinson’s portrayal, he proves what an outstanding choice he was to take on the mantle. Batman is a character who has multiple aspects to his personality, the man he is behind the mask is a very different one to the one who dons the mask. Any actor tasked with this role must differentiate between these personalities, and Pattinson hits the mark perfectly. However, the casting of Batman is just one piece of the puzzle. One cannot have Batman without his trusted Police ally, Jim Gordon. Side by side with Batman as they solve this riddle, Wright brings his usual charisma to this role, and the pair of them make an effective crime-fighting duo. Plus, one cannot talk about Bruce Wayne’s allies without mentioning Alfred. It’s rare to see him outside of motion-capture performances, but in what screen time he has, Andy Serkis excels.

Casting is such an important part of film-making and it’s high time these people were recognised for their work, especially when the choices, like in this film are flawless. Selina Kyle/Catwoman is always a nuanced and fascinating character to explore. Not quite a hero, but far from a villain, especially when compared to some of the citizens of Gotham. We see a very interesting element to her backstory that’s seldom been explored before, and the chemistry between Kravitz and Pattinson’s Batman is extremely palpable. Of all the iconic superheroes that have graced the big screen over the years, there’s arguably no superhero that has quite as an eclectic gallery of villains as Batman. Though we’ve certainly seen some villains more than others. Hence, it is extremely pleasing to see the film bring to the fore many villains that haven’t had as much exposure as others.

Caking an actor in a considerable amount of makeup is not a guaranteed recipe for success, but in this instance, it works perfectly. Unrecognisable under said makeup as the dastardly Penguin, Colin Farrell is clearly having a ball with this villainous role. However, in Paul Dano’s portrayal of the Riddler, here’s an extraordinary, terrifying performance that is destined to join the ranks of iconic villains that we have seen in Batman films over the last several decades. From the moment the Riddler makes his first appearance, he immediately sends chills down the spine, delightfully taunting Batman and the Gotham Police with the crimes he’s carrying out. Plus, with all the clues that he leaves at the crime scenes, it makes for a fascinating game of Cat (or should that be Bat?) and Mouse as Batman faces a race against time to solve these clues and figure out what The Riddler is planning.

After his extraordinary work with the two most recent Planet of the Apes films, self-confessed Batman fan Matt Reeves proves he was the perfect choice to helm this new take on this character. The script, written by Reeves and Peter Craig, remains gripping right throughout the 175-minute running time, whilst perfectly illustrating that Batman’s skills as a detective are second to none. Hence, the decision to pit him against the Riddler was proved to be an absolute masterstroke, as he’s a character who is well equipped to take on Batman in those psychological mind games. Combined with Greg Fraser’s suitably brooding cinematography that captures Gotham’s ominous atmosphere, Reeves’s direction, especially with those action scenes that are drenched in a continuous downpour, is especially thrilling. For a film that’s just shy of three hours, questions are always going to be asked about that run time, and the editing by William Hoy and Tyler Nelson ensures that the film is perfectly paced.

Through all the decades that we’ve seen Batman on screen, there’s been no shortage of memorable scores that have accompanied the Caped Crusader. Danny Elfman and Hans Zimmer have both given this character an instantly recognisable theme. With his atmospheric score, Michael Giacchino can add his name to the list of composers who have provided iconic music for this character. Through each new portrayal, the enduring appeal of Batman has been passed down through generations of audiences. With this fantastic new incarnation, the legend of The Dark Knight continues to shine brightly, like the Bat signal illuminating the skies of Gotham City. Bob Kane and Bill Finger would be immensely proud.

Dark and filled to the brim with nerve-shredding scenes that perfectly capture the essence of everything that makes Batman who he is. Matt Reeves’s vision of this iconic character will stand the test of time as one of the best versions ever produced.

2020-2029, Film Review

House of Gucci (2021)

Posted on December 11, 2021November 15, 2025 by Martin: Through the Silver Screen

**© MGM, Bron Creative and Scott Free Productions**

House of Gucci – Film Review

Cast: Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Jeremy Irons, Salma Hayek

Director: Ridley Scott

Synopsis: Telling the true story of the family behind the iconic fashion brand, and their bitter power struggle as to who will have control over the company…

Review: When it comes to the world of fashion, several names immediately leap to mind that everyone will know as the most iconic. Names such as Louis Vuitton, Prada, Chanel, Versace, and Fendi, to name but a few. When it comes to these fashion houses, there’s likely a fascinating backstory about how they came to be the iconic labels they are today. This is certainly applicable to the brand Gucci, which, as of 2021, is estimated to be worth around $15 billion. With his second film of the year, Ridley Scott tackles that fascinating backstory of the Gucci brand, and the family behind the business, with decidedly mixed results.

Patrizia Reggiani (Gaga), who works for her father’s business, meets Maurizio (Driver) at a party. As they strike up a conversation and get to know each other, their romance blossoms. However, it isn’t until Patrizia learns about Maurizio’s status as the heir to one of the biggest names in fashion that changes everything. Maurizio and Patrizia marry, but Maurizio’s father Rodolfo (Irons) doesn’t take kindly to Patrizia, as he deduces that Patrizia doesn’t love Maurizio for who he is as a person, but is solely after Maurizio’s money. But Maurizio’s uncle Aldo (Pacino) welcomes Patrizia into the family and takes them under his wing. As Patrizia’s influence grows, a bitter power struggle ensues as to who will ultimately take control of the brand, which will have dire consequences.

Adapted from the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour and Greed, by Sara Gay Forden, the title gives you an accurate indication of the shenanigans that are about to go down. A film that depicts all of the above, in the hands of a director with the calibre and experience of Ridley Scott had so much potential. Factor in an extremely talented cast, filled with Oscar nominees and winners, and yet the film falls well short of living up to its potential. As Patrizia and Maurizio meet and fall in love, it starts off fairly strongly, as the chemistry between Lady Gaga and Driver sizzles. Following on from her breakout performance in A Star Is Born, this role gives Gaga a chance to really flex her acting chops. To her credit, she easily gives the best performance in the whole film, which is no mean feat given the calibre of the actors around her.

As she marries Maurizio, she begins to exert her influence over the Gucci brand, whilst making moves to consolidate her power and influence on the Gucci brand. The film could (and perhaps should given the director) have soared from here, but instead, it is where the film really loses its way and never recovers. With all the scheming and backstabbing that goes on as individuals duel for controlling stake in the Gucci brand, like a Game of Thrones-style thriller, but instead of swords, dragons, and a battle for a throne, you have a battle for who will gain control over billions of dollars and dominion of high-end fashion. These moments have the odd spark that provides some entertainment, but they are not nearly enough to sustain the film’s two-and-a-half-hour runtime.

The screenplay from Becky Johnston and Roberto Bentivegna seems to be two films that have been mixed into one. It flirts between wanting to be that serious crime drama and a much less serious film, with the camp factor dialled up to the maximum. This is an opportune moment to mention the enigma that is Jared Leto. Unrecognisable under a substantial amount of make-up as Paolo Gucci, his performance is mystifying, to say the least. With an accent that is so over-the-top and exaggerated, you’d be forgiven for thinking he was auditioning for a role in a new Mario video game. These moments of campy soap opera-like drama, and all of their over-the-topness, are so out of place here, they undercut the very serious crime drama that the film could and probably should have focused on. While Leto is by far and away, the worst offender with the accents, the rest of the cast are not much better. The poor accents are also not helpful when trying to convey the serious nature of the crime drama that that aspect of the film is trying to tell.

The nature of this story is such ripe material for a compelling piece of storytelling. Even though parts of the film dragged on, given the timescale of the story, a mini-series could have been the better avenue to bring this story to audiences. Ridley Scott’s status as a legend of Hollywood is assured, but having said that even with a director of Scott’s experience, the complete mismatch of tones is a baffling style choice and one that ultimately sinks the film. Consistency when it comes to his directorial output has been a recurring problem for Scott. In a year when the veteran director has provided audiences with an extremely compelling and timely drama, it is disappointing that he couldn’t have made it two for two.

With no expense spared for the production design or costumes, Lady Gaga gives it everything she has as Patrizia Reggiani. However, the tonal mismatch of the story and some of the acting proves to be the film’s undoing. Style over substance, quite literally.

2020-2029, Film Review

The Gentlemen (2020)

Posted on October 4, 2020October 4, 2020 by Martin: Through the Silver Screen

The Gentleman – Film Review

Cast: Matthew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant

Director: Guy Ritchie

Synopsis: When word gets out that the head of profitable drugs empire plans to take a step back from his business, the bids to assume control of the business between the various interested parties threatens to boil over…

Review: Whenever you think of certain directors, you’re likely to associate them with certain genres. So for example, when the name Guy Ritchie is mentioned, the classic British gangster flicks, or Sherlock Holmes, may come to mind. When he hopped on Disney’s magic carpet for the live action remake of Aladdin, it seemed to be an unlikely match. Undeniably a profitable venture for both Ritchie and the House of Mouse, yet the end product was considerably uninspiring. Hence, it’s little surprise that Ritchie has gone back to what he knows best, and all the better for it, as his latest film is one that feels very much cut from the same cloth as his classic Gangster flicks.

Micky Pearson (McConaughey) is the founder of a marijuana business that he established in his university days. Having turned it into a very lucrative venture over many years, with Raymond (Hunnam) as his assistant, he has made a decision to cash in and sell as he desires to spend more time with his wife Ros (Dockery). Yet, before he can sign off on a very profitable deal, a number of pesky, scheming individuals are lurking and plotting to take control of the business for themselves. These conniving individuals include the slimy billionaire Matthew (Strong), ruthless gangster boss Dry Eye (Golding), and the wily and deceptive private investigator Fletcher (Grant).

It goes without saying that the key players of a crime/gangster flick are probably not going to be the nicest of people, which would be problematic if they were not compelling characters. Fortunately, with this pitch perfect cast that Ritchie has assembled, there’s not a bad performance to be found. McConaughey is his usual charming and charismatic self, but for a man of his position, a dark and menacing side lays beneath his suave demeanour. Henry Golding has so often portrayed charming gentleman-esque characters. Hence to see him flip that that perception of him on its head and portray a cold and calculating gangster is delightful to see, and he does it brilliantly. Through all of this though, it’s Hugh Grant’s gleefully enthusiastic performance as the dastardly Fletcher, who steals the entire film. He presents himself as a charming geezer, but underneath that charade, there’s something quite mischievous about his character.

In a rather ingenious move by Ritchie, he uses Fletcher to establish the key players, and the events that have led up to the events of the film. Fletcher’s mischievous tendencies mean that you take his narration with a huge pinch of salt. All is almost certainly not what it seems as he narrates the state of play. With all the numerous schemes and plots that are all happening simultaneously, the film can be a little hard to follow. Yet, it crucially never loses its sense of intrigue, and as Ritchie connects all the dots, it’s nothing short of delightfully entertaining. Ritchie combines this sense of intrigue with some excellent lines of dialogue, and no shortage of violent action scenes.

The abundance of extremely politically incorrect language that’s littered throughout the film may turn off some viewers. Furthermore, the film really squanders the potential that Michelle Dockery’s Ros offered. She could have been a very interesting character to explore, but her development is threadbare and she’s not given enough screen time to significantly develop her character or her relationship with her husband. In spite of that, Ritchie has put the disappointment of his Disney venture behind him, and shown the when he is the one who makes the rules, it can be a blast from start to finish. The Guv’nor of the British gangster flicks is back to rule, and let’s hope he’s here to stay.

Bursting with exciting action and a charismatic array of characters, The Gentlemen marks a much needed return to form for Guy Ritchie.

2020-2029, Film Review

Queen & Slim (2020)

Posted on March 1, 2020March 2, 2020 by Martin: Through the Silver Screen

**Image is property of Universal, Makeready and eOne Entertainment**

Queen & Slim – Film Review

Cast: Daniel Kaluuya, Jodie Turner-Smith, Bokeem Woodbine, Chloë Sevigny, Flea, Sturgill Simpson, Indya Moore

Director: Melina Matsoukas

Synopsis: A young couple’s first date takes a considerably unexpected turn after being pulled over by the police…

Review: It’s hard to look past the inescapable fact that the United States has had, and continues to have, a major issue with racism. Similarly, It’s also an inescapable fact that endless number of stories that emerge of police officers who will be instantaneously overly aggressive/hostile in the most minor of situations, especially towards people of colour. Given that incidents such as these have caused innocent black people to lose their lives, it’s ripe for a filmmaker to use these injustices as an inspiration for a thought-provoking, powerful statement.

A young couple that we initially only know as Queen (Turner-Smith) and Slim (Kaluuya) are on their way home after a first date. After being pulled over by police for a supposed infraction, it doesn’t take long for the officer to get aggressive towards them. After pulling his gun following a tense exchange, it has disastrous consequences as he is shot dead by Slim in self-defence. As the police launch a manhunt and arrest warrants for the pair, knowing that they face a very severe punishment if they’re caught, the two of them have no choice but to go on the run and flee for their lives.

As the pair of tragic lovers at the centre of this, Daniel Kaluuya and Jodie Turner-Smith both give layered, terrific performances. Kaluuya, following his Oscar nomination a few years ago, continues his hot streak with as he produces another sublime performance. Similarly, after a few bit part roles in a few films, this is Turner-Smith’s moment in the spotlight and she grabs it with both hands. Given that they’re initially on a first date, their chemistry isn’t exactly strong at first. However, as their journey goes on, you can feel these two grow closer together. Furthermore, if their characters not compelling on-screen presences, the film would run out of steam pretty quickly. However, they carry the film on their shoulders magnificently.

Matsoukas, having been quite prolific directing music videos, makes her feature film debut with real aplomb. She brings a bold vision to the film, that’s aided by some gorgeous cinematography. Whilst visually stunning, she imbues it with grittiness and realism, given that the events depicted feel very grounded in a 21st century America. However, the Achilles heel of the film is the script. Penned by Lena Waithe, while the film weaves important social themes into its script, it does suffer from pacing issues in a couple of places. There’s one intense scene in particular that puts the struggles that Queen and Slim, face into a much wider, and important context. Yet the decision made to pitch this side by side, with another scene that feels like a complete tonal mismatch, that adversely affects the pacing.

It would be easy for a film with subject matter like this to just rely on its timely, and urgent, social commentary. While that by itself is not enough to carry the film on its own, it simply doesn’t rely on these to tell its compelling story. Furthermore, the growing anger towards the treatment of African Americans at the hands of the police, that has fuelled movements such as Black Lives Matter gives the film some significant emotional significance. It’s powerful, for the simple reason that this is, inexcusably, an event that is all too common in modern day America.

Fuelled by extremely compelling lead performances, combined with powerful and relevant social commentary. Queen & Slim is tragic love story that is unequivocally unafraid to pull any punches.

2010-2019, Film Review, London Film Festival 2019

The Irishman (2019)

Posted on October 25, 2019October 10, 2023 by Martin: Through the Silver Screen

The Irishman – Film Review

Cast: Robert De Niro, Joe Pesci, Al Pacino, Ray Romano, Anna Paquin, Stephen Graham, Jesse Plemons, Harvey Keitel

Director: Martin Scorsese

Synopsis: An account of the life of Frank Sheeran, charting how he rose through the ranks of the mob, eventually arriving at the top where he meets the charismatic Jimmy Hoffa, and the circumstances that surrounded Hoffa’s disappearance…

Review: There’s no two ways about it, Martin Scorsese is the Godfather of gangster movies. With six of them to his name, the ones he has made rank as some of the very best films of this genre. They sit alongside the many incredible films that he has made throughout his long and illustrious career as a director. Though with his latest gangster epic, one of the most expensive Netflix productions to date, he has incredibly managed to surpass himself, by making one of the best crime/gangster films of the decade.

Spanning multiple decades, the film is told from the perspective of Frank Sheeran (De Niro). It begins with a flashback look at his early life, and how as a young man how he went from a soldier to becoming a hitman for the mob. Eventually, as he rises up the ranks gradually becoming more powerful and gaining more influence in the higher echelons, he meets and becomes close with the charismatic Union Leader Jimmy Hoffa (Pacino). Whilst simultaneously exploring how Frank became entwined in the circumstances that surrounded Hoffa’s disappearance.

It should come as no surprise given the stature of the three leading men, and the four Oscars between them, that each and every one of them give powerhouse performances. Marking his ninth collaboration with Scorsese, Robert De Niro gives his best performance in a long time as Frank Sheeran. He’s far from a good guy, yet with an actor of De Niro’s immense charisma, there are sympathetic elements to Sheeran’s character. Though he might have retired from acting in the late 1990s, Scorsese reunites with Joe Pesci, to wonderful effect as crime boss Russell Buffalino. Though, it is Al Pacino’s magnificent, arguably career-best turn as Jimmy Hoffa that deserves the most plaudits. In a film with his fellow masters such as De Niro and Pesci, he steals the spotlight from just about every one of them.

With the three leading men, all on outstanding form, there’s an excellent group of supporting characters to give them capable support. Stephen Graham’s mobster underling, who is definitely not afraid to offer a piece of his mind during meetings. Likewise for Ray Romano’s hilarious turn as a Buffalino family lawyer. On the other hand, there are a number of supporting characters who are criminally underutilised. This is best exemplified by Anna Paquin, one of Sheeran’s daughters, especially as there was scope to explore her character in considerably more detail.

Coming in at just under three and a half hours, there’s extra pressure for a film of that length to hold the audience’s attention and justify that run time. With his trusted editor Thelma Schoonmaker once again by his side, she ensures that the film is riveting enough to hold the audience’s attention. Though it’s necessary to help set the latter parts of the film, the first act of the film does take its time to get into its stride. However, once the years have gone by and the endgame gradually comes into view, the thrills never let up once we arrive at the second and, especially the third act. Given that this is the shady underworld of the mob, violence is almost certainly commonplace. However, for the purposes of the story, Scorsese deploys a clever technique to let the audience know of the fate that befell some of these characters. Instead, he utilises the on-screen violence sporadically, for maximum impact.

Given the large amount of time that’s covered, the passage of time is illustrated through an excellent combination of hair and makeup and the de-ageing technology that has been popularised by the likes of the Marvel Cinematic Universe. Though there’s one scene where it looks a bit iffy, it’s well done and effective to tell the ambitious nature of the story. For all those who may write off Netflix and its eligibility for the big prizes during award seasons, one thing is for sure, is that they aren’t afraid to spend the big money on their productions. Furthermore, when you’re bankrolling a high-calibre director like Scorsese, you simply can’t put a price when it comes to telling riveting cinema, featuring stories that absolutely deserve to be seen on the largest screen possible.

With three impeccable leading performances at its core, under the masterful vision of the Godfather of the Gangster movie, The Irishman is an ambitious, enthralling, and poignant triumph for a legendary filmmaker still at the top of his game.

2010-2019, Film Review, London Film Festival 2019

Knives Out (2019)

Posted on October 13, 2019October 21, 2019 by Martin: Through the Silver Screen

**Image is property of Lionsgate and Media Rights Capital**

Knives Out – Film Review

Cast: Daniel Craig, Chris Evans, Ana de Armas, Jamie Lee Curtis, Michael Shannon, Don Johnson, Toni Collette, Lakeith Stanfield, Katherine Langford, Jaeden Martell, Christopher Plummer

Director: Rian Johnson

Synopsis: After a family patriarch dies in mysterious circumstances, a highly renowned private investigator is hired to lead the police inquiry…

Review: After making one of the most polarising blockbusters of all time in The Last Jedi, Rian Johnson would have been forgiven for taking a break from film-making, given the fierce, at times toxic, reaction that his Star Wars film generated. Yet, Johnson was having none of that and has wasted no time getting back into the game. After conceiving the idea of a murder mystery following the release of Looper, he takes obvious inspiration from the likes of Agatha Christie to give his own unique take on the “Whodunnit” genre, with extremely enthralling results.

As with all entertainment that centres on a murder mystery, it pays to know as little as possible about any plot details before diving head first into the madness. Therefore, vagueness is the name of the game from this point onwards. As he celebrates his 85th birthday party with his family, a family patriarch dies. Sensing something suspicious about the circumstances of the death, an official investigation is opened. As the tagline reads: “Hell, any of them could have done it.” As such, with everyone who attended the party a suspect, the detectives must interview the family members, and use those “little grey cells” in a bid to piece together the clues and to try and crack the case.

**The most attractive group of suspects you’ll maybe ever see…**

With such a stacked, A-list, ensemble cast, to give everyone their moment to shine would be extremely difficult. However, with a sharp and brilliantly witty script, Johnson does exactly that, and it enables him to get excellent performances out of everyone. Every member of this family is given fascinating, fleshed out back stories, which enables the audience to try and establish their potential motivations. Though, like all great murder mysteries, the audience is kept on their toes. Though, to go into too much detail about who gives the best performances is running the risk of getting into spoiler territory. With that in mind, let’s just say that, apart from Daniel Craig’s brilliant turn as the lead detective channelling his inner Poirot (if Poirot ever became a gruff Southern sleuth), the characters who wind up being at the centre of this investigation, are the best of a truly outstanding bunch.

There’s some ingenious subtext to the story that could have been a massive turn-off. However, it’s written so cleverly into the plot that makes it relevant and extremely entertaining. With every line of dialogue, Johnson’s passion for the genre comes across effortlessly, and he proves that he is a master of his craft. There’s also the distinct possibility that with some of the lines that these characters spit venomously at each other, that it’s Johnson’s subtle way of firing back, following the vitriol that was aimed in his direction following his Star Wars venture. For a film that centres on a murder investigation, it seems absurd that there’d be so many hilarious moments throughout. They are plentiful and they never feel out of place as the jokes keep the plot moving along at such a thrilling, kinetic pace. It ensures that not a single moment of the film’s run-time is wasted.

Bolstered by some immaculate, very colourful production design, this was the perfect film for Johnson to “bounce back” from the endless mire of the The Last Jedi backlash. It proves, if it were somehow ever in doubt that, Johnson’s mastery of the craft remains intact, and that he’s at the very top of his game as a writer and a director. Furthermore, it’s evident from every frame, that the cast are having a blast with this script, and there’s a good chance that this feeling will be reciprocal for the audience. It will make them want to grab their deerstalker hat and magnifying glass, and strive to solve the riddle at the centre of this enthralling mystery.

A razor sharp, ingenious screenplay, backed by an impeccable ensemble cast ensures that Johnson’s modern update on the Whodunnit genre is an audacious, riveting spectacle.

2010-2019, Film Review

Hustlers (2019)

Posted on September 19, 2019September 19, 2019 by Martin: Through the Silver Screen

Image is property of STX Films and Gloria Sanchez Productions

Hustlers – Film Review

Cast: Constance Wu, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo

Director: Lorene Scafaria

Synopsis: When business at their strip club starts to diminish, a group of the club’s employees devise a scheme to turn the tables on the wealthy clientele that frequent their establishment…

Review: In the wake of the #MeToo movement that shook Hollywood to its core, it seems timely, one could argue even necessary, for more films to be made that feature women front and centre. Films that feature women in empowering situations, not being beholden to any men, and firmly in control of their own destinies. Furthermore, for a film that features women in a line of work that a debate could rage all day and all night about whether said line of work is objectification, or empowerment. In this case, it is absolutely, unequivocally the latter.

Destiny (Wu) is a young woman, who with people she needs to take care of, finds herself struggling to earn a decent living whilst working in a strip club. This is until she meets the confident Ramona (Lopez), who soon takes Destiny under her wing. Under Ramona’s tutelage, Destiny learns how to make more money for herself while she’s on the job. Things start off well, but when the establishment’s customers (and by consequence the money) start to diminish, these women take matters into their own hands to make their living and provide for those they care about. In doing so, they may just manipulate some wealthy individuals along the way.

Right from the very first moment she’s introduced, you know straight away that Ramona is Queen Bee (no, not that one) of this establishment, and our central group of women. Lopez possesses such a commanding on screen presence, and it helps her to own every minute of screen time that she has, delivering arguably her best ever performance. Destiny is at first a little unsure of herself but under Ramona’s tutelage she absolutely comes into her own Ramona, and Constance Wu turns in a solid performance. Though other ladies (Keke Palmer and Lili Reinhart) become part of the titular hustle, the film’s focus is squarely on Ramona and Destiny, and the sweet and sincere friendship that they have. Their chemistry is the glue that binds the whole film together.

Lorene Scafaria’s direction is confident and assured. Given the profession of these women, a choice could definitely have been made under a different to director to overly sexualise them. Thankfully, Scafaria is having none of that, simply because such a decision would be completely unnecessary. She chooses to structure the film with various cuts back and forth between the events of the hustle, and a journalist (Stiles) who’s interviewing the key players for an article that she’s writing about the hustle. While this choice could hamper the film’s flow, the screenplay is sharp and stylish enough to ensure, and the excellent editing ensures that the sharp pace of the film never waivers. The first half of the film takes its time, as it is the calm before the storm, of the hustle. Whereas the second half is relentlessly exciting as the events of the hustle play out, as well as the immediate aftermath.

The film doesn’t exactly paint these women as heroes, because what they are doing is, simply put, not legal. On the other hand, it refuses to completely vilify them. It makes you see where they are coming from and why they are targeting these well-off clients. Quite a few humorous moments are interjected throughout, mainly courtesy of Lili Reinhart’s Annabelle. However, though there may be upsides, it’s not going to be all fun, and games and shopping sprees. There will also likely be drama, and above all, there will be consequences, for the hustlers, and for the people caught up in it all.

With a career best performance from Lopez, and a sharp as a stiletto screenplay, Hustlers combines a gripping and dramatic story, whilst celebrating female empowerment in a respectful manner.

2010-2019, Film Review

Can You Ever Forgive Me? (2019)

Posted on February 14, 2019February 14, 2019 by Martin: Through the Silver Screen

**Image is property of Fox Searchlight**

Can You Ever Forgive Me? – Film Review

Cast: Melissa McCarthy, Richard E Grant

Director: Marielle Heller

Synopsis: When biographer Lee Israel’s (McCarthy) work dries up, she discovers some personal documents and manages to make an extortionate amount of money by forging these documents…

Review: For certain actors, they can be well known for a certain type of role that they tend to play quite a lot, they run a risk of getting typecast in that particular role. Yet, every so often an actor breaks that typecast. This is certainly applicable for Melissa McCarthy, who has so often played roles of a similar ilk to her vulgar but extremely hilarious turn in Bridesmaids. Yet, for this considerably more dramatic role, it’s quite the transformative change for her, and it might just be the best performance of her career.

It is 1991 and Lee Israel’s life and career has hit a dead end, having found herself out of a job and new opportunities are becoming increasingly very hard to come by. Furthermore, she has very few acquaintances to share her life with. It is all rather gloomy until, quite by chance, she finds some unique personal artefacts of celebrities that she forges to her advantage. In doing this, she earns a substantial amount of money, and through these acts of forgery, she runs across fellow outcast Jack Hock (Grant), who aids her in these acts of deception.

Though she comes off as quite the unlikable person, McCarthy is truly excellent in her performance. From the moment we first meet her, it is clear that she is difficult to work with and other people do not like her. These feelings are evidently reciprocal, as Lee clearly prefers the company of animals to people. The screenplay by Nicole Holofcener and Jeff Whitty, adapted from Israel’s own memoir, goes about exploring how Lee intricately created her forgeries in an exciting fashion, whilst at the same time balancing that with Lee trying to build some sort of social connections with a select few people.

One of those few is Richard E Grant’s Jack Hock, who is something of an outcast himself and a recluse like Lee herself, similarly, he’s also a bit of an arsehole and not exactly the most pleasant man, but Grant is uproariously entertaining in this role. There is something heart-warming about watching these two connect despite their mutual difficulties of connecting with people, build a relationship and accomplish these naughty deeds, whilst having a tipple or two in their downtime. However, director Marielle Heller doesn’t shy away from the fact that what Lee is doing is a crime. Which, as various people begin to suspect that they have been deceived, the tension begins to grow as the authorities get involved.

Though the film does suffer from a few pacing issues, there is something about the story of Lee Israel that will be pertinent for that anyone who writes for a living, and equally so for those who dream of writing for a living. Equally so, if anyone has been an outsider, or has experienced difficulties in connecting with people, the struggles that people experience in those sorts of situations can undoubtedly take a heavy toll. And whenever people find themselves in those dark times, it can make people do things that they regret, or in Lee Israel’s case, do things and have the time of your life while doing so.