Lindsay Duncan

This is one of those films that dances right up to the edge of soapy sentimentality, making us a little nervous about where it might go. But director Marc Webb (500 Days of Summer) holds his nerve, letting the emotions build without ever tipping over into melodrama. What emerges is a striking exploration of the tricky connections between parents and children and the importance of makeshift families. And it's so sharply played that it can't help but move us.

It's set in rural Florida, where the quietly intelligent Frank (Chris Evans) is hiding out from his academically minded mother Evelyn (Lindsay Duncan), trying to give his 6-year-old niece Mary (Mckenna Grace) the free-spirited childhood his late sister wanted for her. Their life includes sassy neighbour Roberta (Octavia Spencer) and a one-eyed cat named Fred. But Mary is a mathematical prodigy, and her teacher Bonnie (Jenny Slate) is worried that the public school can't keep up with her. This alerts Evelyn to Mary's gifts and, after taking no interest before, she sweeps in with a legal challenge to Frank's custody. Like her daughter and granddaughter, Evelyn is also a maths genius, and believes that Mary's abilities need to be exploited in a higher-class educational environment.

While the argument about what's better for this little girl is fairly simple, Tom Flynn's script never lapses into the usual trite courtroom drama. And while there are a lot of formulae scribbled on white boards, the focus is always on the people rather than the numbers. Thankfully, these characters also never turn into heroes or villains; each is just trying to do what they think is best. This means that the actors can invest unusual depth into the roles, adding surprisingly sharp edges while revealing their softer sides as well. Evans has rarely had a chance to flex like this as an actor, and he's terrific, creating some powerful chemistry with the, yes, gifted Grace.

Continue reading: Gifted Review

Mexican filmmaker Alejandro Gonzalez Inarritu continues to reject traditional narrative structures with this whizzy, ambitious exploration of celebrity, art and commerce. And the clever casting of Michael Keaton adds another layer of meaning to the whole film, which is shot as one long wildly entertaining single take and pointedly subtitled "The Unexpected Virtue of Ignorance". Blackly hilarious and darkly emotional, this is an exploration of how show business can push a person to the brink of madness. And maybe knock them over the edge.

Keaton stars as Riggan, once a top movie star known for his three Birdman blockbusters. But he hasn't done anything notable since, and is now trying to reboot his career by directing, adapting and starring in a Broadway play based on a Raymond Chandler story. The problem is that no one will let him escape from the iconic superhero character he's best known for, least of all Birdman himself, who mentally haunts and taunts Riggan at every turn. Meanwhile in the theatre, Riggan locks horns with costar Mike (Edward Nortan), a controlling show-off brought in at the request of lead actress Lesley (Naomi Watts). As opening night approaches, Riggan and his producer-friend Jake (Zach Galifianakis) are also struggling with the demands of high-maintenance costar Laura (Andrea Riseborough), plus distractions from Riggan's daughter-assistant (Emma Stone) and ex-wife (Amy Ryan).

Inarritu and ace cinematographer Emmanuel Lubezki tell this story as if it's one continuous snaky shot with the camera following Riggan through the maze-like backstage corridors, into the theatre and out into nearby Times Square streets. The virtuoso filmmaking is simply breathtaking, and it works perfectly because all of the characters are packed with pungent details and fully developed inner lives. The actors find all kinds of quirks that are both hilarious and darkly thoughtful, creating jagged interaction as they cross paths with each other, sparring riotously for attention. Every scene bristles with startling revelations and barbed jabs at the Hollywood system.

Continue reading: Birdman Review

Like a 20-years-later sequel to Before Midnight, this sharply observant comedy-drama follows a couple through a soul-searching weekend in which they evaluate their relationship with real wit and emotion. And transparent performances make it something to savour, as it offers us a rare grown-up movie about real issues we can identify with.

As the title suggests, the weekend in question takes place in France, and it's a 30th anniversary treat for Nick and Meg (Broadbent and Duncan). They can't really afford a trip to Paris, especially after ditching their dodgy pre-booked hotel in lieu of something far nicer, but they figure out ways to make their time special. Meanwhile, they talk about their years together, and the hopes and regrets that are haunting their thoughts. There are some hard questions to ask about their future, even as they haven't lost that spark of sexuality. Then they run into Nick's old Cambridge pal Morgan (Goldblum), who invites them to a party where they meet academics and artists just like them. Which only makes them think even more.

The key issues for them include Nick's early retirement (for an ill-timed comment to a student) and Meg's desire to change her life completely. As they consider the options, their conversations drive the film forward forcefully, flowing through cycles of flirtation and laughter to bitterness and cruelty. The depth of their love is never in doubt, even as they wonder how secure their relationship actually is. Broadbent and Duncan play these scenes effortlessly, taking our breath away because it's all so honest, often both funny and scary at the same time.

Continue reading: Le Week-end Review

The Victorians were well known for keeping a stiff upper lip about everything, and their romance was absolutely no exception. Their entire world was constructed around subtlety, and, in tune with that, the one word that can be used to describe An Ideal Husband is subtle.

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The latest Jane Austen novel lovingly adapted to film, "Mansfield Park" features a predictably resolute heroine named Fanny Price, a 10-year-old girl from a poor family who is sent to live with wealthy relations at their country estate.

The first thing her aunt says to her is "Let's have a look at you...Well, I'm sure you have other qualities." When her uncle thinks she's out of earshot, he tells his daughters, "she's not your equal," and he insists she live in the servants' wing to prevent her from tempting her male cousins. Nonetheless, young Edmund takes a shine to her and makes her feel at home, which is the beginning of a life-long friendship.

Well, I think we all know where this is going. As witty and wildly engaging as Austen's coy 18th Century romances are, they're nothing if not predictable.

Continue reading: Mansfield Park Review