dwbell

This film has an interesting set up - a road trip of sorts to find a small child's father who has possibly deserted his (now dead) wife and son. The cinematography is beautiful and it opens up the Catholic community of Vietnam in an interesting way. Unfortunately, the longer it goes on, the less it delivers. The narrative ebbs away to reveal very little as the lead character goes on what is now a spiritual journey. But why? He seemed pretty together right from the beginning. Was he supposed to be learning something? I couldn't find the connection no matter how hard I tried. Finally, he lay down in a shallow stream as if giving up. If only the audience could do the same. The film simple did not ultimately reveal anything. If there was rich meaning, as some suggest, the film-maker failed to make this apparent - even to those who kept on watching for the full three hours. Very disappointing.

A bloated, lazy and ultimately tedious self-indulgence that assumes that the viewer will care about its characters and story as much as it's director and writer. It's a problem shared with Branagh's Belfast and the French film Mr Bojangles. The film doesn't earn its climaxes as we are not invested in the character's journies, trials and travails. Spielberg and Kushner (who have both made terrific works in the past) here rely on over-used stereotypes (Brisket, anyone?, High school jocks and nerds) that deliver little payoff. What, ultimately, is the lesson learned from the bullet-headed uncle sleeping Shiva? It doesn't seem to impact the character of our hero at all. And everything takes so long (dancing in the firelight on the camping trip, viewing and reviewing the film of the 'hidden' moments of the camping trip etc). The actors are working hard because they are in a big, personal film by Spielber. It doesn't pay off. Michelle Williams seems to be channeling Shirley McLean, Judd Hirsh is doing his best Mel Brooks (if only!), Paul Dano has only been given one note to play by Spielberg and Kushner. The film is way too long, has no energy and wouldn't inspire anyone to take up film-making or any other creative pursuit. It may be based on Mr Spielberg's life, but perhaps he should have left it to someone else to make the movie version. Dull, dull, dull.

Tom is really the only judge who speaks with passion and knowledge to the actual dish. The other two just egg each other on like people at a drunken dinner party trying to out do each other's criticisms. I mean, what exactly are their skill-sets? One is a business woman and the other has a podcast. I'm sure this weeks guest, Anita, is a lovely person, but she came across as whining and miserable (not 'picky' as she described herself). She disliked virtually everything that was put in front of her. Ghastly. And why suddenly introduce a pescitarian judge. What's the point of the chefs cooking during the week if they have to make a suddenly untried dish during the finals? Pointless.

A sensitively drawn chamber piece for the three actors. Lubna Azabal especially delivers a finely crafted performance encompassing the breadth of human emotions. Wonderful.

I think the problem here was that a) the author of the book was involved with the screenplay and b) the director/c0-screenwriter was in awe of the material/author. If ever something needed more distance from the material, this was it. Someone suggested that, unlike the book, they didn't need a narrator. This was the fatal flaw. Without the audience understanding that this was the son's retelling of the family story, his parents just came across os self-involved narcissists. The film was so desperate to capture a charming effervescent mood that everything was leaden. When the story turned dark, it was hard to know how to react. The performances were OK, if rather forced. I wanted to escape the cinema after 20 minutes.

I enjoyed this film. It has the right deadpan quality that infuses the Simenon books. There are no car chases, shouting, running from or towards villains - But lots of atmosphere. Visually, the film is very dark, almost monochrome so the shot at the end of the young woman in the red dress is a visual shock. I liked the relationship between Maigret and Madam Maigret which revolves around food and love (now that their daughter has died). Gerard Depardieu is terrific, very underplayed but full of psychological nuance. Yes, it's slow and 'measured', but worth it by film's end.

Absolutely charming in parts - like when the students have to 'sell' the dish. However, unfortunately no matter how good the performances are, this boils down to a while savour story and I felt less engaged as the film went on. Imagine if a black actress like Aïssa Maïga had the role of the chef. How different even the same script would have felt. Yes, there was a nod to using the brigade's cultures in the menu (I think) - for example the Proustian dish on the final menu (but what was it?). I thought the phone call with the students mother had possibilities when she mentioned all the spices he/they used. Maybe the menu would at least sprin in their direction, but sadly, no. The actors were charming but it;s time to tell another story.

A terrific central performance makes this compulsive viewing (she needs to be cast as Francis McDormond's daughter in something). Despite this, the film feels uneven and not as satisfying as it should have been. The relationship with her tutor is unnecessary and doesn't have any bearing on the plot or her character. Perhaps if she had had a relationship with one of her teammates the story would have spun off to more interesting places, also, her friend disappeared midway through the film. She could have been an interesting counter-balance. Still, an interesting film. Worth seeing.

Goliath isn't a 'great' film but it's an important story, well told. Terrific performances all around and excellent claustrophobic cinematography which helps create a tense atmosphere. For me, a couple of things let it down - some rather corny reaction shots of people laughing at the lobbyist's joke, and the sentimental ending over the credits. But the rest of the film far outweighs these minor flaws. Recommended.

Ridiculous, melodramatic and corny. A great series takes a nosedive. Now that Otis and Magee have given up their advice sessions, the whole thing has fallen apart.

Great performances all around in this strong, but downbeat film by Paul Schrader. As usual, Schrader explores the moral ambiguities of his characters which drive the complex story to its conclusion. Don't expect a poker-playing Oceans eleven just because it has a star cast - all of whom are wonderful.

Sexy, erotic and romantic. Very gay without the need for grinding asses.

Ryan Murphy plumbs new shallows. This is like a bad TV movie from the eighties.

If you're interested in Maplethorpe, there's nothing here, and if you know nothing about him, you still won't find anything. Like every bad bio-pic "Do you know (insert famous name here)?"

Amidst a slew of great performances in this episode, David Schofield was a revelation to me. I don't think I was aware of him before this, but I've seen a number of the films and tv that he's done so he is obviously one of those actors who brilliantly is so believable in small roles that you might not notice. Not here though. As soon as his first scene started, I was riveted. His second was a masterclass in understated but powerful acting. I've looked ahead and can't wait to see his next episode.

Lawrence won't last. Bimini has a big future ahead.

I found this on Stan after watching RuPaul's Drag Race one night. Ru's catch phrase "If you can't love yourself, how the hell you gonna love someone else" hits the Mark here. Thomas Banks is a shining example of living that motto. I know he will have his down moments but his optimism and sunny personality shine through in this short, captivating documentary. I actually thought it was going to be a limited series and would have been happy to watch it as Thomas is such a charismatic central character. More power to him and I hope he finds true love at last.

Stumbled across this on Netflix. Had never heard of it but it looked interesting. The film has an interesting set up that propels the lead character into an extraordinary and unexpected world. Terrific performance from Denis Vlasenko who has something of Timothee Chalamet about him. Anna Styx as Oksana is also very good. It's definitely worth watching.

Just finished Season Two of Sex Education. It really is brilliant. Funny, poignant, sort of true to life (!). It's for everyone who's ever been a teenager!

Disappointingly the all star cast don't really get much to do. This is really just a retread of an Agatha Christie Poirot story but unfortunately takes itself far too seriously to enjoy the ride. What could have been a rip-roaring Old-school who-done-it ended up being very flat. Did anyone care who did it? Surely it's all about the getting there?!

Fellows did a far better job on Gosford Park as did Maggie Smith.

Half way through ep 2 it struck me: the sister is going to turn out to be a serial killer. This would set up all sorts of intra family dynamics.

No surprises here. This was just the same idea played over over and over. How about that Joker Ballet in the toilet?! Hilariously bad.

What a brilliant way for this show to end. Armando Iannucci has written one of the best series endings ever, with the story being tied up in an unexpected but entirely logical way. Julia Louis-Dreyfus' performance is a career-best. The rest of the cast are superb all around. Perfect.

Very disappointing. It's just a James Bond movie with black actors playing the same patriarchal sterotypes. Lazy. Boring. Terrific actors wasted.