Inland Empire David Lynch's stunning video installation art masquerading as film. It's a few steps into the stratosphere from Mullholland Drive but is a similar meditation on Hollywood. Despite previously insisting he would never shoot digitally, Lynch gets with the dots here and uses the mediums garish tones to great effect. Narrative cinema is completely abandoned here in favour of some great set pieces, notably Grace Zabriskie's cameo and Little Eva's 60s hit Locomotion used to accompany a gym workout. Laura Dern and Justin Theroux head a great cast The girl I went with hated this. "Too dark", she complained as though expecting Shrek 3. Inland Empire
The Namesake Based on the book of the same name, this brilliantly encapsulates the cultural difficulties experienced by a Bengali couple when they move from Calcutta to New York. While being both witty and romantic, it doesn't shy away from some biting criticism of western values. Surprisingly for an adaptation it's visually rich making it a work of art in its own right. The largely Indian cast are brilliant, non more so than Kal Penn, previously seen as the latter half of Harold and Kumar. I saw this on a laptop in Ladakh with a bunch of fine people from the USA, and one from China. Different nationalities but all as one on this. The Namesake
Planet Terror The better half of Tarantino's now severed Grindhouse experience, directed by QT's pal Robert Rodriguez. The big mistake was showing this first, as its witty, fast paced and not pompously self referential. In other words, it's everything that its other half, Deathproof, isn't. By the time that latter has finished, over three hours would have elapsed on the clock. Had the Rodriguez film played last it's energy might just have you through, but instead you get QT's fantasy of how girls talk when left to their own devices. Yawn. Grindhouse
Zodiac Very good indeed in places, those being the first half when Robert Downey Jnr and Mark Ruffalo are most prominent. One of the film's other major assets is the recreation of San Fransisco circa 1970, using the latest in digital technology. It's not just the city that's being revived but the 70's genre with its tight focus and warm shadows. It recalls Klute in more than one way, another film with a serial killer at its centre, though the emphasis is on police procedural even though the book on which it is based was written by the cartoonist from the San Francisco Chronicle, Robert Graysmith. He's played here somewhat disastrously by the callow Jake Gyllenhaal. A real standout is the use of Donovan's Hurdy Gurdy Man, always a creepy song and the film exploits that to the limit. I've always liked David Fincher's ideas, and this is the one film in which most of these are realised. Zodiac
Shooter An atypical choice for me as I'm no great fan of American action films. This one comes with a few twists however, and the considerable presence of Marky Mark. It's a conspiracy thriller and like all such, it's convoluted. It's directed with flair and energy by Antoine Fuqua and apart from Mr Wahlburg it comes with Elias Koteas, Danny Glover and Ned Beatty on board, the latter a 70s veteran and a nod to the film's roots. Shooter
The Illusionist A film which almost lives up to its own title as it appeared to vanish before reaching the shores of the UK. A pity, for it really is quite lovely but maybe not if you know the twist in the tale. I'm hopeless at spotting such things so I just bought right in. Edward Norton, magic, turn of the century Vienna in sepia. I ask you, what's not to like? The Illusionist
The Lookout An encouraging directorial debut from Scott Frank whose previous credits as a screenwriter include Get Shorty and ???. This is an altogether moodier affair, with a lengthy exposition and very little action when considering it's basically a thriller. If anything it recalls Brick in tone but unlike that film, it doesn't try to be too clever by half. It also has the excellent Joseph Gordon-Levitt, who manages to hold things together when Jeff Daniels attempts to have the scenery for Lunch. The Lookout
Climates A Turkish film from the excellent Nuri Bilge Ceylan, whose Uzak was one of my favourite films of the current decade. As with that film, the prevailing conditions are chilly, Begrmanesque even. It's the story of a relationship which has gone tits up but the self absorbed theatre director refuses to accept this. The clash between the older man's ego and the girl's self determination will give many pause for thought. There are few laughs to be had but its very seriousness is its strength. Climates
The Last King of Scotland What starts out as a somewhat whimsical bio of Idi Amin and his relationship with a (fictional) Scottish doctor, gradually and seamlessly morphs into something appropriately darker. Excellent performances from Forrest Whittaker and James McEvoy lend credibility to this bizarre tale. The Last King of ScotlandMichael Clayton (check the 'seen recently' blog)
Requiem The words 'based on a true story' usually fill me with dread, but Hans-Christian Schmid's film shows how it can be done, even when 'true stories' don't come much more difficult than this. The events - the possession and exorcism of a young girl - sound medieval but in fact took place in Germany, 1976. Schmid is refreshingly upfront about his interpretation, preferring to imagine the reaction of her friends and family rather than trying to get them to relive what must have been an extremely painful time. But this is not just a film about pain, it's also one about love as those around the troubled girl unite in their efforts for a cure. There are no dramatic flourishes here or any special effects, though the period is captured to perfection. What holds it all together is a stunning performance from the theatre actress Sandra Huller, watching her is almost a cathartic experience in itself. Requiem
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