Louder Than Bombs (Joachim Trier, 2015)

Isabelle Huppert and Gabriel Byrne in Louder Than Bombs

Cast: Gabriel Byrne, Isabelle Huppert, Jesse Eisenberg, Devin Druid, Amy Ryan, David Strathairn, Ruby Jenkins, Megan Ketch, Rachel Brosnahan. Screenplay: Joachim Trier, Eskil Vogt. Cinematography: Jakob Ihre. Production design: Molly Hughes. Film editing: Olivier Bugge Coutté. Music: Ola Fløttum. 

Joachim Trier's Louder Than Bombs is a portrait of a dysfunctional family, but Trier lays on the dysfunction a little too thickly and the film descends into soap opera territory. Isabelle Reed (Isabelle Huppert), a celebrated photojournalist, has died in an automobile crash, and her family is contacted by a gallery for a memorial exhibition of her photography. A reporter (David Strathairn) who had worked with her is also preparing an article for the New York Times celebrating her life and work. Gene (Gabriel Byrne), her husband, asks their older son, Jonah (Jesse Eisenberg), who has just become a father, to come help him sort through the materials remaining in Isabelle's workshop. The younger son, Conrad (Devin Druid), is still in his teens, and Gene has refrained from telling him that his mother's death was probably not an accident but instead a self-destructive consequence of depression. Trier tells their story in fragments and flashbacks, and relies on some rather heavy-handed ironies. Isabelle, for example, had been concerned that her photographs of the victims of war were exploitative and voyeuristic, but Gene becomes a voyeur himself, spying on the sullen, secretive, and taciturn Conrad. He is also having an affair with one of Conrad's teachers (Amy Ryan) to further his spying on his son. In a gratuitous episode that adds nothing to the plot or the theme of the film, Jonah, although initially portrayed as a loving husband and father, has an affair with an old girlfriend (Rachel Brosnahan) he meets in the hospital where his wife has just given birth. The acting is uniformly good, with Druid particularly effective at portraying the torments of adolescence. But the secrets and lies in the film tend to sink it into melodrama.  

Pretty Red Dress (Dionne Edwards, 2022)

Alexandra Burke and Natey Jones in Pretty Red Dress

Cast: Natey Jones, Alexandra Burke, Temilola Olatunbosun, Rolan Bell, Ben Caplan, Nicholas Bishop, Maria Almeida, Edwin De La Renta, Angie Le Mar, Mark Monero, Dexter Flanders. Screenplay: Dionne Edwards. Cinematography: Adam Scarth. Production design: Phoebe Platman. Film editing: Adonis Trattos. Music: Hugo Brijs. 

In her debut feature, Pretty Red Dress, Dionne Edwards grapples with issues of gender but finally loses her grip on them in an effort to resolve the plot. Just out of prison, Travis (Natey Jones) goes home to his partner, Candice (Alexandra Burke), and their teenage daughter, Kenisha (Temilola Olatunbosun), seeking to start his life again. Candice, a singer who works as a cashier in a supermarket, is trying to make her dreams come true: She's auditioning to play Tina Turner in a new musical, and she and Travis spot the perfect dress in a shop window. It's too expensive for her salary, however, so Travis reluctantly goes to work for his bullying older brother, Clive (Rolan Bell), and buys it for her. The bright red beaded dress seems to help her at the audition, but Travis is fascinated by it too. He yields to an old compulsion and furtively tries the dress on before the mirror, even borrowing Candice's lipstick. It's the beginning of a series of complications in their relationship, especially when Kenisha, who has been confronting her own sexual identity, walks in on him in the dress. Edwards avoids preachiness in her drama, but doesn't find a satisfying outcome for the film, avoiding sentimentality but leaving her characters in suspension. It's well-acted by the entire cast, and Burke's musical performances provide a highlight for the film.  

Somewhere (Sofia Coppola, 2010)

Stephen Dorff in Somewhere

Cast: Stephen Dorff, Elle Fannin, Chris Pontius, Michelle Monaghan, Kristina Shannon, Karissa Shannon. Screenplay: Sofia Coppola. Cinematography: Harris Savides. Production design: Anne Ross. Film editing: Sarah Flack. Music: Phoenix. 

Sofia Coppola's Somewhere is about a hollow man, a movie star played by Stephen Dorff who has fame and fortune but not much else in his life other than a lively 11-year-old daughter (Elle Fanning) from a failed marriage. When his ex-wife has a breakdown of some sort, he gets to see his daughter more often, and their relationship blossoms. But it's only a temporary alleviation of his deep ennui, a condition verging on anhedonia: He hires blonde twins to do pole dances in his hotel room but displays only polite enthusiasm for their performance. Once he even falls asleep during sex. Somewhere succeeds as a portrait of a man without a purpose in life, but it makes for challenging viewing -- it's hard to maintain interest in a character who isn't interested in anything. Coppola has clearly drawn on her own experience as the daughter of a celebrity, and that gives her film the grounding it needs. 

Nine Months (Chris Columbus, 1995)

Julianne Moore and Hugh Grant in Nine Months

Cast: Hugh Grant, Julianne Moore, Tom Arnold, Joan Cusack, Jeff Goldblum, Robin Williams, Mia Cottet. Screenplay: Chris Columbus, based on a screenplay by Patrick Braoudé. Cinematography: Donald McAlpine. Production design: Donald McAlpine. Film editing: Raja Gosnell, Stephen E. Rivkin. Music: Hans Zimmer.

Chris Columbus's Nine Months is a sometimes painfully unfunny attempt to blend slapstick with romantic comedy, centered on the notion that women in their 30s should get married and have children. So when Rebecca Taylor (Julianne Moore) discovers that her birth control has failed and she's pregnant, she and Sam Faulkner (Hugh Grant), who are living together, face the big decision. She's for it, and he's -- well, he's played by Grant at his most dithery. The rest of the film wobbles between treating the pregnancy as a real-life couple might and treating it as an excuse for knockabout scenes. In one of the latter, for example, Sam and his new friend Marty (Tom Arnold), get into a fight in a toy store with a man in a dinosaur suit (based on a then-popular kid's show about a purple dinosaur called Barrney). The movie climaxes in a fight in the delivery room that's supposed to be funny but is more than a little disturbing thanks to the presence of  Robin Williams as a Russian obstetrician who has unaccountably been allowed to practice in America and spouts a lot of probably ad-libbed gynecological malapropisms. But even when the film takes Rebecca's pregnancy seriously, it's just tedious. Grant did his career no good by mugging his way through the film, and skilled players like Moore, Jeff Goldblum, and Joan Cusack are wasted. 

Where the Truth Lies (Atom Egoyan, 2005)

Colin Firth and Kevin Bacon in Where the Truth Lies

Cast: Kevin Bacon, Colin Firth, Alison Lohman, David Hayman, Rachel Blanchard, Maury Chaykin, Sonja Bennett, Kristin Adams, Deborah Grover. Screenplay: Atom Egoyan, based on a novel by Rupert Holmes. Cinematography: Paul Sarossy. Production design: Phillip Barker. Film editing: Susan Shipton. Music: Mychael Danna. 

Confusion worse confounded. Atom Egoyan's whodunit Where the Truth Lies is miscast and muddled. First off, who would ever have cast Colin Firth and Kevin Bacon as a 1950s comedy team clearly modeled on Dean Martin and Jerry Lewis? Both actors make a go of it, being the professionals that they are, but they're battling the fact that neither of them is particularly known for their work in comedy. In the scenes where they're supposed to be performing, Bacon makes a few attempts at Lewis's spazz shtick, but Firth is simply a stiff. Worse is the casting of Alison Lohman as Karen, a journalist out to get the story of a young woman who was found dead in the hotel suite of the comedy team. Lohman has no weight or depth, and her voice, unfortunately entrusted with the narration, is thin and grating. Egoyan's decision to use flashbacks to unravel the complicated story is worsened by the fact that Lohman resembles Rachel Blanchard, who plays the victim, so that occasionally I was momentarily unsure which was which. There's a suicide and a sentimental aside involving the victim's mother which drag the film down just when we should in suspense about the solution to the crime, which itself lands unconvincingly. In short, a misfire from a usually reliable director. 

Death Is a Caress (Edith Carlmar, 1949)

Claus Wiese and Bjørg Riiser-Larsen in Death Is a Caress

Cast: Claus Wiese, Bjørg Riiser-Larsen, Eva Bergh, Ingolf Rogde, Einar Vaage, Brita Bigum, Sossen Krohg. Screenplay: Otto Carlar, based on a novel by Arne Moen. Cinematography: Kåre Bergstrøm, Ragnar Sørensen. Art direction: H.C. Hansen. Film editing: Olav Engebetsen. Music: Sverre Bergh. 

A cougar on the prowl snares a handsome garage mechanic and takes him back to her lair in the Norwegian noir Death Is a Caress. Edith Carlmar, the first woman to direct a Norwegian film, tells the story of the ill-fated liaison of Sonja Rentoft (Bjørg Riiser-Larsen) and Erik Hauge (Claus Weise) with considerable finesse. The sinners in the movie still get punished -- one with death, the other with imprisonment -- but it's a film that reflects how timid Hollywood's output was under the Production Code, which forbade things like showing a man and a woman in bed together as well as any mention of abortion, both of which Carlmar has no hesitation about including.  

54 (Mark Christopher, 1998)

Ryan Philippe in 54

Cast: Ryan Philippe, Mike Myers, Salma Hayek, Neve Campbell, Breckin Meyer, Sela Ward, Sherry Stringfield, Ellen Albertini Dow, Heather Matarazzo, Skipp Sudduth. Screenplay: Mark Christopher. Cinematography: Alexander Gruszynski. Production design: Kevin Thompson. Film editing: Lee Percy. Music: Marco Beltrami. 

Mark Christopher's 54 tells the old tale of the moth drawn to the flame who gets his wings singed. It's the story of Shane (Ryan Philippe), a Jersey boy drawn to the bright lights of Manhattan and particularly those of Studio 54, the pleasure palace run by Steve Rubell (Mike Myers). Despite all the sex and drugs, however, it's a tepid, tedious film -- or at least the one that went into release and is now being shown on the Criterion Channel is. It uses the expository crutch of a voice-over narration by Shane to tell how he and his friends Anita (Salma Hayek) and Greg (Brecking Meyer) became victims of Rubell's vices and venality, though it ends improbably with a presumably repentant Rubell returning from prison to be welcomed by them in a cleaned-up Studio 54. The film was a critical disaster, which writer-director Christopher blames on the meddling of producer Harvey Weinstein. But a "director's cut" now exists that is reportedly darker, tougher, and incidentally a lot queerer, one in which Shane is not quite the choirboy gone astray.  

Love (Dag Johan Haugerud, 2024)

Andrea Bræin Hovig and Tayo Cittadella Jacobsen in Love

Cast: Andrea Bræin Hovig, Tayo Cittadella Jacobsen, Marte Engebritsen, Lars Jacob Holm, Tomas Gullestad, Marian Saastad Ottesen, Morten Svartveit. Screenplay: Dag Johan Haugerud. Cinematography: Cecilie Semec. Production design: Tuva Hølmebakk. Film editing: Jens Christian Fodstad. Music: Peder Kjellsby. 

What do we talk about when we talk about love? Sex? Commitment? Fidelity? Selflessness? In Dag Johan Haugerud's engaging Love, part of his "Oslo trilogy," the characters talk about all of those things and sometimes act upon them. The film centers on Marianne (Andrea Bræin Hovig), a urologist, and Tor (Tayo Cittadella Jacobsen), a nurse, who meet after work on a commuter ferry from Oslo to the Nesodden peninsula. Tor reveals to Marianne that he's on Grindr and often uses it to meet other gay men on the ferry. He's happily unattached and enjoys talking with the men he meets almost as much as he does having sex with them. The conversation sparks something in Marianne: She's middle-aged and unmarried, which doesn't seem to bother her as much as it bothers her friends, who keep trying to set her up. In fact, she's on her way to meet an eligible divorcé her friend Heidi (Marte Engebritsen) thinks is a good match for her. Marianne goes on Tinder, trying out Tor's methods, and has a brief hookup with a passenger she meets that way. It doesn't work out quite as smoothly as Tor suggests it does, but then neither does Tor's encounter with Bjørn (Lars Jacob Holm), a psychologist who becomes a patient in the clinic where Marianne and Tor work. Haugerud's delicate, knowing approach to his characters makes Love work splendidly.   

Wuthering Heights (Andrea Arnold, 2011)

James Howson in Wuthering Heights

Cast: Kaya Scodelario, Shannon Beer, James Howson, Solomon Glave, Oliver Milburn, Nichola Burley, James Northcote, Lee Shaw, Amy Wren, Steve Evets, Paul Hilton, Simone Jackson, Michael Hughes. Screenplay: Andrea Arnold, Olivia Hetreed, based on a novel by Emily Brontë. Cinematography: Robbie Ryan. Production design: Helen Scott. Film editing: Nicholas Chaudeurge. 

Andrea Arnold captures some of the feverishness of Emily Brontë's novel in her version of Wuthering Heights, but it's lost in some fashionable camerawork, and her actors aren't quite up to the demands of the characters. Shannon Beer and Solomon Glave provide some of the feral quality of the young Cathy and Heathcliff, but their adult counterparts, Kaya Scodelario and James Howson, don't have the abandon that the doomed lovers of the novel should have. When not called on to provide literal darkness to evoke the emotional darkness of the book, or punch up moments of conflict with a jiggly hand-held camera, cinematographer Robbie Ryan does capture the bleak environment of the story. The Brontë novel is probably unfilmable without lopping off large parts of the book, and Arnold stops short of the brutal last section about Heathcliff's destructive decline. There are some clumsy intrusions of contemporary language, words that would never have been allowed to appear in print at the time the book was published, and a few outright anachronisms, like "okay" and calling one's belongings "stuff." The film does a few things right, like casting Black actors as Heathcliff, but its chief problem is that it's more than a little dull.

Five Star Final (Mervyn LeRoy, 1931)

Edward G. Robinson and Oscar Apfel in Five Star Final

Cast: Edward G. Robinson, Marian Marsh, H.B. Warner, Anthony Bushell, George E. Stone, Frances Starr, Ona Munson, Boris Karloff, Aline MacMahon, Oscar Apfel. Screenplay: Byron Morgan, Robert Loird, based on a play by Louis Weitzenkorn. Cinematography: Sol Polito. Art direction: Jack Okey. Film editing: Frank Ware. 

Part of Mervyn LeRoy's Five Star Final is brisk and lively, and part of it is stiff and stagy. Edward G. Robinson plays Randall, managing editor of a New York tabloid called The Evening Gazette. Randall is being pressured by the paper's editor, circulation manager, and advertising sales director to increase circulation by printing a series about a murder that took place 20 years ago, in which a woman named Nancy Voorhees (Frances Starr) shot her boss when he reneged on a promise to marry her. She was acquitted of the crime because she was pregnant, but the sensation of the trial lingers in memory. Randall marshals his reporters, including a rather sinister one named Isopod (Boris Karloff), to find out whatever happened to Nancy. They discover that she's alive and happily married to Michael Townsend (H.B. Warner) who knows her story and has been willing to raise her daughter, Jenny (Marian Marsh) as his own. Moreover, Jenny is about to get married to Philip Weeks (Anthony Bushell), from a prominent family. Sensationally flogging the story has dire consequences for all concerned. Unfortunately, the melodramatic scenes that take place in the Townsend household are the ones we are supposed to believe in and take to heart, wrecking the tone of the movie. The entertaining ones in the newspaper office, filled with colorful characters and full of snappy repartee of the kind the Production Code would suppress, are the ones that bring Five Star Final to life. Robinson and Karloff are fine, and Aline MacMahon as Randall's secretary gets to pull off some memorable lines. When a Jewish reporter threatens to change his name to advance his career, she shoots back: "Don't do it, kid. New York's too full of Christians as it is." 

Brideshead Revisited (Julian Jarrold, 2008)

Ben Whishaw and Matthew Goode in Brideshead Revisited

Cast: Matthew Goode, Ben Whishaw, Hayley Atwell, Emma Thompson, Patrick Malahide, Michael Gambon, Greta Scacchi, Ed Stoppard, Felicity Jones, Jonathan Cake. Screenplay: Andrew Davies, Jeremy Brock, based on a novel by Evelyn Waugh. Cinematography: Jess Hall. Production design: Alice Normington. Film editing: Chris Gill. Music: Adrian Johnston. 

Julian Jarrold's version of Brideshead Revisited pales in comparison to the classic 1981 miniseries. Despite a greater emphasis on the queerness of the relationship of Charles Ryder (Matthew Goode) and Sebastian Flyte (Ben Whishaw), Jarrold's film comes across as tepid and talky. Goode and Whishaw are well-cast, and they get impressive support from Emma Thompson as Lady Marchmain, Michael Gambon as her estranged husband, and Patrick Malahide as Charles's remotely vague father. But the film feels rushed as it tries to encompass the events of Evelyn Waugh's novel while trying to illuminate the book's complex manipulations of faith and family that span decades. 

Death Proof (Quentin Tarantino, 2007)

Zoë Bell in Death Proof

Cast: Kurt Russell, Zoë Bell, Rosario Dawson, Vanessa Ferlito, Sydney Tamiia Poitier, Tracie Thoms, Rose McGowan, Jordan Ladd, Mary Elizabeth Winstead, Quentin Tarantino, Mary Harriel, Eli Roth. Screenplay: Quentin Tarantino. Cinematography: Quentin Tarantino. Production design: Steve Joyner. Film editing: Sally Menke. 

Quentin Tarantino's parody of quick-and-dirty "grindhouse" movies, Death Proof, is sometimes dirty but not always quick enough. It's almost two hours long, when the originals were rarely more than an hour and a half. Kurt Russell plays a psychotic killer, an aging stuntman who uses his "deathproofed" car as a weapon against young women. Eventually, of course, it's young women who get their revenge against him. But we have to wait a long time for that revenge to take place, as it does after a spectacular car chase. It's a movie for Tarantino fans and people who like to see fast cars destroyed. 

Felicia's Journey (Atom Egoyan, 1999)

Bob Hoskins and Elaine Cassidy in Felicia's Journey

Cast: Bob Hoskins, Elaine Cassidy, Arsenée Khanjian, Sheila Reid, Nizwar Karanj, Peter McDonald, Gerard McSorley, Marie Stafford, Brid Brennan, Susan Parry. Screenplay: Atom Egoyan, based on a novel by William Trevor. Cinematography: Paul Sarossy. Production design: Jim Clay. Film editing: Susan Shipton. Music: Mychael Danna. 

A tightly wound performance by Bob Hoskins and a touchingly vulnerable one by Elaine Cassidy make Atom Egoyan's Felicia's Journey memorable. Cassidy is Felicia, an Irish girl who comes to Birmingham in search of the young man who made her pregnant and receives the sinister aid of Joe Hilditch (Hoskins), who runs a catering business. Egoyan subordinates suspense to character development and mood, which saves Felicia's Journey from being a routine and generic serial killer story. Paul Sarossy's cinematography avoids the clichés of darkness and shadow characteristic of the genre, and Mychael Danna's sometimes off-beat score also sidesteps familiarity. 

School on Fire (Ringo Lam, 1988)

Fennie Yuen in School on Fire

Cast: Fennie Yuen, Sarah Lee, Damian Lau, Lam Ching-ying, Roy Cheung, Terrence Fok Shui-Wah, Joe Chu Kai-Sang, William Ho Ha-Kui, Chan Lap-Ban, Li Kwong-Tim. Screenplay: Nam Yin. Cinematography: Joe Chan. Art direction: Luk Tze-Fung. Film editing: Tony Kwok-Chung Chow. Music: Lowell Lo. 

Ringo Lam's School on Fire is the culmination of a series of "on fire" movies that started with City on Fire (1982) and continued with Prison on Fire (1987). (The 1991 sequel to the latter, Prison on Fire II, was made a response to the popularity of Chow Yun-fat in the first two films.) School on Fire centers on a schoolgirl, Chu Yuen Fong (Fennie Yuen), who is caught up in the infiltration into the schools of a triad headed by Smart (a handsomely sinister Roy Cheung). I think School on Fire is the best of the lot, in part because Lam's concentration on characters as well as action brings in focus his vision of corruption in Hong Kong. Still, nobody does frenzy better than Lam, and he tops himself with the climactic scene of School on Fire in which people and weapons and furniture are whipped into a chaotic conflict that makes you wonder how any of the actors involved in it survived.  

Maniac Cop (William Lustig, 1988)

Robert Z'Dar in Maniac Cop

Cast: Tom Atkins, Bruce Campbell, Laurene Landon, Richard Roundtree, William Smith, Robert Z'Dar, Sheree North, Nina Arvesen, Nick Barbaro, Lou Bonacki, Barry Brenner, Victoria Catlin. Screenplay: Larry Cohen. Cinematography: James Lemmo, Vincent J. Rabe. Production design: Jonathan R. Hodges. Film editing: David Kern. Music: Jay Chattaway. 

Whoever did the closed captions for William Lustig's Maniac Cop deserves special credit for recognizing the movie's essence. Instead of the usual description of background noises, like "swooshing sounds" or "loud explosion," they inserted the equivalent of comic book words like "POW!" and "WHAM!" So when a van takes a nose-dive into the waters of the bay, instead of "gurgling sounds" as it sinks, we get "*BLUB* *BLUB*." In short, Maniac Cop is schlock, but knows it, as you might expect that when you see that the cast includes Bruce Campbell, who made his name by teaming up with director Sam Raimi on such campy horror movies as The Evil Dead (1981) and Army of Darkness (1992). (Raimi has a cameo in Maniac Cop as a TV reporter.) Lustig's movie is less outrageously over the top than the Raimi films, and there's a good deal of sub-par dialogue and acting, but it spawned two sequels.  

We Don't Live Here Anymore (John Curran, 2004)

Mark Ruffalo, Peter Krause, Naomi Watts, and Laura Dern in We Don't Live Here Anymore

Cast: Mark Ruffalo. Laura Dern, Peter Krause, Naomi Watts, Sam Charles, Ginger Page, Jennifer Bishop, Amber Rothwell, Meg Roe, Jim Francis, Marc Baur, Patrick Earley. Screenplay: Larry Gross, based on stories by Andre Dubus. Cinematography: Maryse Alberti. Production design: Tony Devenyi. Film editing: Alexandre de Franceschi. Music: Michael Convertino. 

Even a quartet of accomplished actors can't save John Curran's We Don't Live Here Anymore from the fact that none of the characters they play is interesting enough to elicit our concern about what happens to  them. The Lindens, Jack (Mark Ruffalo) and Terry (Laura Dern), and the Evanses, Hank (Peter Krause) and Edith (Naomi Watts), are thirtysomethings living in a town where Jack and Hank teach at the local college. Jack and Edith are having an affair, and the tensions their sneaking around causes eventually drive Terry into a reciprocal affair with Hank. At some point it occurred to me that these marital disputes were really none of my business, and that I didn't really care if or how they worked things out. The film tries to keep us involved, laying on Michael Convertino's melancholy score to elicit emotions that the screenplay fails to inspire, but in the end I was left with nothing but the pleasure of watching actors act. 

Dead Presidents (Albert Hughes, Allen Hughes, 1995)

Bokeem Woodbine, Freddy Rodriguez, Larenz Tate, and Keith David in Dead Presidents

Cast: Larenz Tate, Keith David, Chris Tucker, Freddy Rodriguez, Rose Jackson, N'Bushe Wright, Alvaleta Guess, James Pickens Jr., Jennifer Lewis, Clifton Powell, Elizabeth Rodriguez, Terrence Howard, Bokeem Woodbine. Screenplay: Albert Hughes, Allen Hughes, Michael Henry Brown. Cinematography: Lisa Rinzler. Production design: David Brisbin. Film editing: Dan Lebental. Music: Danny Elfman. 

The Hughes Brothers' Dead Presidents sags under the weight of its own ambition to portray the urban Black experience in the Vietnam War era, trying to be both a war film and a heist movie. Larenz Tate is too lightweight an actor for the central role of Anthony Curtis, who chooses to join the Marines and returns from the war to find his expectations of fitting into postwar life thwarted. The film succeeds in providing vivid roles for supporting actors, particularly Chris Tucker and Keith David, but the final third of the movie feels rushed to its rather flat conclusion.

Winter Brothers (Hlynur Pálmason, 2017)

Elliott Crosset Hove in Winter Brothers

Cast: Elliott Crosset Hove, Simon Sears, Vic Carmen Sonne, Lars Mikkelsen, Peter Plaugborg, Michael Brostrup, Anders Hove, Birgit Thøt Jensen, Laurits Honoré Rønne, Frédéric André. Screenplay: Hlynur Pálmason. Cinematography: Maria von Hausswolff. Production design: Gustav Potoppidan. Film editing: Julius Krebs Damsbo. Music: Toke Brorson Odin. 

Hlynur Pálmason's Winter Brothers begins in darkness, with a few lights shuttling around in the blackness that eventually reveal that we are in a mine, part of the limestone quarry and chalk factory that forms the setting for the film. It's a way of setting up the contrast of dark and light that gives the film its peculiar power. This is a bleak setting for wintry lives, particularly those of the brothers, Emil (Elliott Crosset Hove) and Johan (Simon Sears), who work in the factory. There's not much story to be told in the movie beyond delineating the tensions that exist between the brothers, the unsettled Emil and the more stoic Johan, but Pálmason, with the significant aid of Maria von Hasswolff's cinematography, provides a darkly poetic vision of figures in a forbidding landscape. 

Neighboring Sounds (Kleber Mendonça Filho, 2012)

Gustavo Jahn and Irma Brown in Neighboring Sounds

Cast: Irandhir Santos, Gustavo Jahn, Maeve Jinkings, W.J. Solha, Irma Brown, Lula Terra, Yuri Holanda, Clébia Souza, Albert Tenório, Nivaldo Nascimento, Felipe Bandeira, Clara Pinheiro de Oliveira. Screenplay: Kleber Mendonça Filho. Cinematography: Pedro Sotero, Fabricio Tadeu. Production design: Juliano Dornelles. Film editing: João Maria, Kleber Mendonça Filho. Music: DJ Dolores. 

Oblique, elliptical, subtly unsettling, Kleber Mendonça Filho's debut fictional feature film Neighboring Sounds is a glimpse into the private lives of some middle-class residents of a condominium complex. It gradually exposes their secrets in ways that will frustrate viewers expecting conventionally dramatic revelations. But then, how much do you really know about your neighbors?    

F1 (Joseph Kosinski, 2025)

Cast: Brad Pitt, Damson Idris, Javier Bardem, Kerry Condon, Tobias Menzies, Kim Bodnia, Sarah Niles, Will Merrick, Joseph Balderrama, Abdul Salis, Callie Cooke, Samson Kayo, Simon Kunz. Screenplay: Joseph Kosinski, Ehren Kruger. Cinematography: Claudio Miranda. Production design: Ben Munro, Mark Tildesley. Film editing: Stephen Mirrione. Music: Hans Zimmer. 

Joseph Kosinski's entertaining but unoriginal F1 was one of this year's surprise nominees for the best picture Oscar. Nobody actually gives it much of a chance of winning, and there was much comment on the fact that it took that place of Jafar Panahi's much-praised It Was Just an Accident. As a racing movie, it has the usual plot clichés: rival drivers, big crashes, behind-the-scenes villainy, an inevitable love affair. You might call it a case of déjà vroom.