So this is the eye of the revolution – up close it sure is revolting. As the 1970 Miss World competition looms, divorced mother of a little daughter Sally Alexander (Keira Knightley) encounters sexism as she is interviewed for a place as a mature History student at University College London. She encounters Women’s Liberation activist Jo Robinson (Jessie Buckley) painting slogans on a poster and warns her about bobbies patrolling the street. She joins her group which lives as a commune and advises them to engage with the media – they’re so shabby and disorganised and they don’t even have TV but another group in Peckham disagrees with their tactics. Meanwhile Eric Morley (Rhys Ifans) and his wife Julia (Keeley Hawes) are busy trying to secure Bob Hope (Greg Kinnear) as host of Miss World against his wife Dolores’ (Lesley Manville) wishes because when he last did it in 1961 he took the winner home. Pressured by London-based South African apartheid activist Peter Hain (Luke Thompson), Eric Morley decides to parachute in an extra contestant, black Pearl Jansen (Loreece Harrison) who along with Miss Grenada Jennifer Hosten (Gugu Mbatha-Raw) is one of the few coloured contestants in the beauty contest. Then a wilder element of Libbers blows up a BBC van on the eve of the competition and the Grosvenor Road commune has to go through with a proper protest under cover of normal clothing during the live show … You think you can have the same freedoms as a man but you can’t. The screenplay by Rebecca Frayn and Gaby Chiappe from Frayn’s story is rooted in reality: this is a group biography but done as a comedy drama in the style of a heist story. It’s a conscientious and entertaining if mild intervention into the evolution of women’s rights. A touch more of zany might have helped this become a genre entry which it’s straining to do but respect for the (still living) heroines obviously hampers wilder moments. And perhaps the truth. It’s a political tale of unbelievable misogyny and inequality. The display of the beauty queens’ behinds for rating is truly shocking: how on earth did this outrageous cattle mart go on as long as it did?! However the lovely irony, that the protest (which occurs in the midst of infamous philanderer Hope’s outrageously sexist monologue) engenders a feminist movement is well played and the meeting between arrested Sally and newly-crowned winner Hosten nicely encapsulates the complex theme and issues which today’s feminists would call intersectional. Fun fact: Sally’s daughter Abigail (Maya Kelly) was the daughter from her marriage to legendary actor John Thaw. Directed by Philippa Lowthorpe. Turns out my seat at the table is actually a high chair
Aka WW84. Nothing good is born from lies. And greatness is not what you think. As a young girl, immortal Amazon demi-goddess and princess Diana (Lily Aspell) competes in an athletic competition on Themyscira Island against older Amazons. She falls from her horse, misses a stage, and is disqualified after trying to take a shortcut. Diana’s mother, Queen Hippolyta (Connie Nielsen) and her aunt Antiope (Robin Wright) who is general of the Amazon army lecture her on the importance of truth. In 1984 adult Diana (Gal Gadot) works as a senior anthropologist at the Smithsonian Institute in Washington DC. She specialises in the culture of ancient Mediterranean civilisations and studies languages for fun. She continues to fight crime as Wonder Woman, albeit while trying to maintain some anonymity, rescuing people from a botched jewellery heist in a local mall. Diana meets new co-worker, gemologist Barbara Minerva (Kristen Wiig) an insecure woman who idolises Diana and tries to befriend her. Aspiring businessman and charismatic TV huckster Maxwell Lord (Pedro Pascal) visits the museum to try to acquire a mysterious Dreamstone which grants wishes to anyone who touches it. It is one of the artifacts found as part of the black market the jewellery store engages in and both of the women unwittingly use it for their own desires: Diana wants to be reunited with her dead WW1 pilot lover Steve Trevor (Chris Pine); while Barbara wants to be like Diana. She gets a makeover at a local boutique and Lord turns up at a Smithsonian gala and manipulates her in order to retrieve the stone. Once it’s in his possession he wishes to become its embodiment and gains its power to grant wishes, while also able to take whatever he desires from others: he’s been selling shares in oil without striking it yet and in a matter of days becomes a powerful and influential global figure leaving chaos and destruction in his wake. Barbara, Diana and Steve try to investigate the Dreamstone’s power further, and discover it was created by the God of Treachery and Mischief; the stone grants a user their wish but takes their most cherished possession in return, and the only way to reverse the condition is by renouncing their wish, or destroying the stone itself. Steve realises that his existence comes at the cost of Diana’s power. Both Diana and Barbara are unwilling to renounce their wishes, and try to figure out another solution. Maxwell, upon learning from the U.S. President (Stuart Milligan) of a satellite broadcast system that can transmit signals globally, decides to use it to communicate to the entire world, offering to grant their wishes. Barbara/Cheetah joins forces with Maxwell to prevent Diana from harming him. Steve convinces Diana to let him go and renounce her wish so that she can regain her strength and save the world. She returns home and dons the armour of the legendary Amazon warrior Asteria, then heads to the broadcast station and battles Barbara, who has made another wish with Maxwell to become an apex predator, transforming her into a cheetah-woman. After defeating Barbara, Diana confronts Maxwell and uses her Lasso of Truth to communicate with the world … Does everybody parachute now? What a great welcome this film deserves: a charming, heartfelt feminist superhero sequel with a message of peace, love and understanding – but not before the world comes close to annihilation. Adapted from William Moulton Marston’s DC Comics character with a screenplay by director Patty Jenkins & Geoff Johns & Dave Callaham, this starts out very well but tellingly goes straight from a prehistoric setpiece into an Eighties mall sequence and the first half hour is fantastic. Then … there’s character development when the klutzy Barbara arrives and her transformation to Cheetah takes its sweet time while odious businessman Lord is also introduced with his own backstory. The wheels don’t come off, exactly. The scenes are fractionally overlong and the two villain stories don’t mesh precisely with excursions into politics (the Middle East and a bit of an anti-Irish scene in London) which then escalates when Lord introduces himself to the US President (Reagan himself though he’s unnamed) at the height of the Star Wars policy (and we don’t mean sci fi movies). The winged one then learns the beauty of flight from her reincarnated boyfriend; while Barbara becomes more feline and vicious, an apex predator as she puts it. And Lord gets greedy while alienating his little son. So there are three somewhat diverging narrative threads. This is a structural flaw in an otherwise rather wonderful story. An exhilarating pair of back to back introductory setpieces followed by a Superman tribute that is exceedingly pleasant but doesn’t capitalise on all the characters’ considerable potential, this is a half hour too long (like all superhero outings) with scenes that need to be cut and political commentary that doesn’t sit quite right. Some of the jokes about the Eighties (in Pine’s scenes) get a little lost (directing or editing issues?) but the costuming is on the money and given that Diana lives in the Watergate Complex it’s a little surprising more wasn’t made of this or that it wasn’t set a decade earlier. Otherwise DC is nicely established in terms of geography and obviously it’s plundered for story. There are jokes that land rather well, like the Ponzi scheme; and when Steve gets into a modern aeroplane and Diana suddenly remembers that radar exists. In effect, this is a movie about the conflict in using your powers – there is a time and a place and it’s not always appropriate to get what you want because there are consequences and making a choice implies potentially terrible consequences and sometimes loss of life. It also engages with rape culture, sexism and the dangers of TV, taking down cheap salesmen and televangelists. Witty, moralistic and humane this has everything you want in a superhero movie and it looks beautiful courtesy of cinematographer Matthew Jensen and production designer Aline Bonetto. There’s a neat coda in the end credits. And how nice is it that the late great Dawn Steel’s daughter Rebecca Steel Roven is a producer alongside her father Charles Roven? You go Gal! You’ve always had everything while people like me have had nothing. Well now it’s my turn. Get used to it
I’m just wondering why you came back here. Michael Delaney (Steve McQueen) racer for Porsche is still guilty about the accident that killed his fellow driver Pierre Belgetti a year ago. Overlooking the past, he has to win the race at Le Mans, world’s strenuous race course ever, with Belgetti’s widow Lisa (Elga Andersen) in attendance. After 13 hours of racing, Erich Stahler (Siegfried Rauch) spins his Ferrari at Indianapolis Corner, causing teammate Claude Aurac (Luc Merenda) to veer off the track in a major accident. Momentarily distracted by the flames of Aurac’s car, Delaney reacts too late to safely avoid a slower car, striking the guardrail and then bouncing several times across the road, striking the guardrails on each side of the road multiple times, destroying his Porsche 917. Both survive, but Aurac’s injuries are extensive and he is taken choppered to a hospital. Lisa appears at the track clinic where Delaney is briefly treated. She is distraught at his crash, which stirs up emotions from Piero’s passing she had been seeking to put in the past. Delaney consoles her and rescues her from a horde of reporters. After he puts her in a waiting car, a journalist asks Delaney whether his and Aurac’s accident can be compared to the one with Belgetti in the previous year’s race. Delaney merely stares him down. While Johann Ritter’s (Fred Haltiner) wife Anna (Louise Edlind) wants him to quit, the decision is taken out of his hand when,team manager David Townsend (Ronald Leigh-Hunt) replaces him for not being quick enough on the track. Lisa winds up supporting Delaney with Townsend asking him to replace Ritter, urging him to drive flat out … What is so important about driving faster than anyone else? The drama is lightly sketched in an impressionistic film with nobody actually doing any talking until thirty minutes in. This legendary film – the circumstances of its making, McQueen’s passion project that put an end to his desire to drive, the editing problems – has been the subject of a documentary and occupies a significant part of his biography, placing a huge burden on its interpretation. Despite its star vehicle status, the car’s the star, the atmosphere indelible and the action incredible. With astonishing footage captured on the track (some by McQueen himself the year before when he came 2nd at Sebring) you really will believe you’re hanging around the pit lane of the most awesome sport at its most glamorous time at the best European locations, quaffing Martini. Written by Harry Kleiner and directed by Lee H. Katzin when John Sturges quit. Racing is life. Anything that happens before or after is just waiting
I was going faster than I ever went in my whole life, then I fell off. Pro motorcycle racer Halsy Knox (Robert Redford) runs into amateur Little Fauss (Michael J. Pollard) after a race held near Phoenix, Arizona. They strike up a friendship as Fauss is attracted to Halsy’s carefree lifestyle. But Fauss’s father Seally (Noah Beery Jr.) regards Halsy as a bad influence and refuses to help Halsy when his truck breaks down. Halsy tricks the admiring Fauss into repairing his motorcycle for free at the shop where he works. When Fauss breaks his leg, Halsy, who has been barred from racing for drinking on the track, proposes that they form a partnership in which Halsy would race under Fauss’s name with Fauss serving as the mechanic. Fauss joins Halsy on the motorcycle racing circuit despite his parents’ disapproval. Fauss is constantly confronted with his inferiority to Halsy, both on and off the racetrack. Their partnership is finally broken when wealthy drop-out Rita Nebraska (Lauren Hutton) arrives at the racetrack and immediately attaches herself to Halsy, despite Fauss’ keen attention. Fauss returns home to find his beloved father has died. Halsy later visits him and attempts to ditch Rita, who is now heavily pregnant. Fauss refuses to let Halsy pawn her off on him and informs him that he plans to reenter the racing circuit. They race against each other at the Sears Point International Raceway. Halsy’s motorcycle breaks down. As he watches from the side of the track, he hears the announcement that Fauss has taken the lead… Well if that’s friendship, I’m aghast. Screenwriter Charles Eastman is now probably better known for his sister Carole aka Adrien (Five Easy Pieces) Joyce, than anything he himself wrote, including this, one of the more obsure biker flicks despite its big-name star. And yet Redford could say of it, That was the best screenplay of any film I’ve ever done, in my opinion. It was without a doubt the most interesting, the funniest, the saddest, the most real and original. He seems born to play the shirtless, feckless, ruthless handsome womaniser leaving a trail of destruction in his wake who only loses his shit-eating grin when things don’t go his way. I make it a rule to never make promises. Beery and Lucille Benson as Pollard’s parents are like a new generation’s Min and Bill. They’re so good they deserve a whole story of their own. Charles and Carole were Hollywood kids, if hardly upper echelon – their father worked as a grip at Warners while their mother was Bing Crosby’s secretary. Eastman was actually one of Hollywood’s most reliable script doctors through the Sixties, helping out on productions as diverse as Bunny Lake is Missing and The Planet of the Apes. He was something of an eccentric in that brotherhood of writers who wanted to be directors, inspiring people like Robert Towne with one of his unfilmed works which circulated in the Fifties, Honeybear, I Think I Love You. Towne remarked, For me, it was quite a revelation because it was the first contemporary screenplay I had read that just opened up the possibilities of everything that you could put into a screenplay in terms of language and the observations of contemporary life. It was a stunning piece of work, and I think it influenced a lot of us, even though it wasn’t made. Everybody tried to get it made, but Charlie was very particular about how it was going to be made, and in some ways I think he kept it from being made. Charlie was an original, that’s all. He used language in a way that I hadn’t seen used before. Towne speculated that his sister’s acclaimed screenplay for Five Easy Pieces was actually about Charles. Charlie was just one of those shadowy figures that I think cast a longer shadow over most of us than was generally recognised. Eastman would finally make his one and only foray into directing three years after this production with The All-American Boy, a boxing film starring Jon Voight. This is distinguished not just by the performances of opposites (a sexy opportunistic louse taking advantage of an ordinary decent rube) but by the evocative feelings it inspires – you get a real sense of character, predicament and place, indicating what Towne might have seen in Eastman’s writing – a kind of poetry, perhaps. That’s great screenwriting. It ain’t how you do, it’s where you’ve been. It feels as though it’s minting new archetypes it’s so fresh, vivid and affecting. It hits home even further in the special soundtrack of songs performed by Johnny Cash and written by him, Carl Perkins and Bob Dylan – arguably their on-the-nose content is the only thing that dates this, if at all. An unsung Seventies film and Pollard is just fabulous as Little. Sumptuously shot in Panavision by Ralph Woolsey on location in Antelope Valley, Sonoma County and Sears Point Raceway in San Francisco. Produced by Al Ruddy, Gray Frederickson (they would make The Godfather in a couple of years) and actor Brad Dexter – it was one of four films he produced. Wonderfully directed by Sidney J. Furie. What else is there to do?
Fifty bucks never killed anybody! Rudy Russo (Kurt Russell) is an unscrupulous car salesman who aspires to become a State Senator for Arizona. In the meantime he works for the nice but ineffective old dealer Luke Fuchs (Jack Warden) with a dodgy ticker selling bangers that die once they leave the lot. When Luke dies in mysterious circumstances, Rudy takes over the business, but he faces stiff competition from his rival across the street, the scheming Roy L. Fuchs – pronounced ‘fewks’ – (also Warden) who wants his brother’s business for himself because he’s paying off the Mayor to put the interstate freeway through the property. Rudy needs to get hold of $10,000 to launch his political campaign. In order to get more customers, Rudy and Roy each devise ever more ridiculous promotions to gain the upper hand. Now it’s every salesman for himself! Then Luke’s estranged daughter Barbara Jane (Deborah Harmon) shows up just when there’s a televised Presidential address to disrupt … They are the lowest form of scum on the face of this earth and I urge you to stay away from them! John Milius gave the idea for the script to Robert Zemeckis & Bob Gale and lo! comedy gold was born in this outrageous tale of oneupmanship, rivalry and sheer chutzpah, a parody of hucksters and a satire about the USA at the tail end of the 70s. Russell and Warden are fantastic. This country’s going to the dogs. Used to be, when you bought a politician the son of a bitch stayed bought! Gerrit Graham, David L. Lander, Frank McRae and Michael McKean are among the brilliant cast where everyone has an angle, even Toby the dog. Screamingly funny, this is one of the best bad taste comedies ever made and simply hurtles to its riotous conclusion taking absolutely everybody prisoner on its mercilessly outrageous joyride. Executive produced by Milius and Steven Spielberg. Nothing sells a car better than a car itself. Now remember this, you have to get their confidence, get their friendship, get their trust. Then get their money
You remind me of myself a few years ago. Quite a few years ago. When British industrialist Sir William Rutland (Cary Grant) arrives days early for a meeting in Tokyo he doesn’t realise that due to the housing shortage throughout the 1964 Summer Olympics there’s nowhere to stay and even Julius Haversack (John Standing) at the British Embassy can’t be of assistance. He answers a small ad for an apartment share and when he arrives at the destination he finds British girl Christine Easton (Samantha Eggar) in a tiny place and she has a strict timetable to which Rutland must adhere. When he sublets to homeless American Olympic athlete Steve Davis (Jim Hutton) Christine has to put up with it because she’s already spent Rutland’s share of the rent. Then Rutland disagrees with her plans to marry Haversack and plays Cupid, while both he and Christine try to find out what sport Davis is competing in and resort to taking a cab and finding themselves in the middle of a race-walk … You’ve gone too far. And if you’ve any sense of decency you will leave. In the morning. A remake of the 1943 movie The More the Merrier, this is relocated from wartime Washington to the Tokyo Olympics and has neither the biting wit of the original screenplay by Sol Saks (and an uncredited Garson Kanin) nor the firm direction of George Stevens but is quite pleasant fluff although Eggar lacks comedy chops. There are some good moments – when Hutton is suspected of being a spy; when the father of Eggar’s friend Aiko (Miiko Taka) is confused by the various relationships and mistakenly hands Grant a fertility symbol: Grant turns around to Standing, declaring I think we’re engaged, reminding us of his ad lib in Bringing Up Baby, I just went gay all of a sudden. And given that it’s Grant’s final film it’s amusing to hear him humming the themes from both Charade and An Affair to Remember while he’s doing his shtick in Eggar’s tiny kitchen, thematically resonant as well as self-referential. There’s a nice bit at Aiko’s house when the TV is screening a Jimmy Stewart western – dubbed! Imagine a movie without his inimitable voice and in Japanese! Written by Robert Russell and Frank Ross and directed by Charles Walters with a score by Quincy Jones who co-wrote the songs Stay With Me and Happy Feet with singer Peggy Lee. He’s an Englishman, isn’t he?
Aka L’Été meurtrier. They call her Eva Braun. Shortly after Eliane or Elle Wieck (Isabelle Adjani) moves to a small southern French town, she begins dating Fiorimonto Montecciari aka Pin-Pon (Alain Souchon), a quiet young mechanic who has grown obsessed with the beautiful newcomer and they get married. But Elle has her own reason for the relationship: Pin-Pon’s late father was one of the trio of Italian immigrants who brutally gang-raped her German mother Paula Wieck Devigne (Maria Machado) two decades before, and she’s out to get her own form of revenge. However, Pin-Pon’s deaf aunt Nine aka Cognata (Suzanne Flon) suspects Elle’s true motivation when the young woman insists on knowing the origins of a barrel organ in the barn … He used to say, You can beat anyone on earth, no matter who. Adapted by Sébastien Japrisot from his own novel with director Jean Becker, this is the kind of film that the French seem to make better than anyone else – an erotic drama that simply oozes sensuality, suffused with the sultry air of rural France in summer and boasting a stunning performance by Adjani who has a whale of the time as the nutty myopic sexpot seducing everyone in her path except her prospective mother-in-law (Jenny Clève). Her occasional stillness is brilliantly deployed to ultimately devastating effect. Singer Souchon is a match for her with his very different screen presence essaying an easily gulled guy, in a story which remains quite novelistic with its story passing from narrator to narrator, a strategy which deepens the mystery and ratchets up the tension as it proceeds – starting as a kind of bucolic comedy and turning into a very different animal, a kind of anti-pastoral. A film whose twists are so complex you may need a second viewing, it seems to slowly exhale the very air of Provence leaving a disturbing memory wafting in its tragic wake. With François Cluzet, Michel Galabru and Édith Scob, this is scored immensely inventively by Georges Delerue. If this were the cinema not an eye would be dry
I can’t do this shit sober. Under-appreciated and overburdened suburban moms Amy (Mila Kunis), Kiki (Kristen Bell) and Carla (Kathryn Hahn) rebel against the challenges and expectations of the biggest day of the year: Christmas. As if creating the perfect holiday for their families isn’t hard enough, they’ll have to do it while hosting and entertaining their own respective mothers (Christine Baranski, Cheryl Hines and Susan Sarandon) when they come to visit early, unwanted and uninvited, thwarting all the ladies’ plans for a laidback break from all of this as they start redecorating, competing and bitching about their useless daughters … Please God no more pussies. The ladies are back – with a vengeance. And their moms are here too, bringing a psycho(logical) dimension to the antics which are more scatological, bittersweet and episodic this time round as the mother-daughter dynamics are explored in their varying levels of possessiveness, competitiveness and sluttiness. It’s not particularly focused and falls between the three stools of the individual dramas but the cast are excellent. Instead of a PTA election we have a carolling competition; instead of a celebrity cameo from Martha Stewart we have Kenny G the godfather of soulful jazz, as Baranski intones; and Wanda Sykes makes a welcome return as the seen-it-all therapist. Other than the innuendo and the work-related seasonal sexploitation (courtesy of the very picturesque Justin Hartley), it’s fairly anodyne entertainment but a spinoff with the Bad Grandmas seems likely courtesy of some very shrewd casting. Written and directed again by Jon Lucas & Scott Moore. You shouldn’t have to see your mom kiss your boyfriend’s nipples
From Jon Lucas and Scott Moore.
The accident didn’t just happen to Frank, it happened to everybody. Frank Williams’ career as an F1 team boss didn’t quite end in 1986 as his eponymous team was cresting towards major success but his mobility was brought to a crashing conclusion at a wall in the South of France when he was rushing to the airport to get back home to England. He was in and out of consciousness for six weeks after snapping his spine in two and became a quadriplegic overnight. His team would come visit him at the London Hospital to regale a man barely alive about the latest intra-team spats between Nelson Piquet and Nigel Mansell simply to try and keep him going. The man who ran 12 miles a day and competed in marathons was subsequently confined to a wheelchair. This revolves around his refusal to engage with his family’s desire to come to terms with the horrific accident and how they handled it – he simply never mentioned it and got on with things, unable to share a bed with wife Ginny and looked after by a 24/7 carer. Ginny wrote a book (A Different Kind of Life) in 1991 which she recorded in secret with the help of a writer friend. The conflict in the film is this: Frank has never read it while his daughter Claire, now team boss (and says I never expected to be given the keys to the shop) is in tears at the fact that her mother died of cancer in 2013 without the couple ever discussing its contents, namely her anguish at his physical destruction. Ginny’s absence is the most powerful presence in the story. The narration is primarily excerpts from the book (filmed to her audio as staged reconstruction, like the crash) but visually the film mostly consists of Claire Williams interviewed today and archive footage starting with Williams in his early career as a Northern chancer selling spare parts, obsessed with becoming a driver and sharing a flat with posh Etonians, one of whom, Piers Courage, died in one of his early cars. The film concludes with Claire reading to her father from Ginny’s book and there are perhaps a few tears in the man’s eyes. It’s a feeble conclusion considering the breadth of his actions. The impact of his own attitudes was borne at far greater price by third parties, the team’s recent failure to achieve podium finishes notwithstanding, a terrible fate for an old school marque. Williams’ imperturbable visage had a quite different, sinister affect when he was introduced (like Count Dracula) in slo-mo in Asif Kapadia’s magnificent Senna, clearly the villain of that tragic piece, when he and Patrick Head forced the greatest driver of my lifetime, who was at the forefront of the F1 driver safety campaign, into a dangerous car to his death, literally cut off in his prime. This is the flipside of Williams’ refusal to engage with humanity, open his mouth and speak. Sadly, when you look at this old, strangely enigmatic quadriplegic, dead from the neck down, you realise that sometimes bad things can really happen to bad people. It’s a vital story in F1 history but it’s hard to care. Featuring interviews with Mansell, Peter Windsor (who was in the crash with Williams), Jackie Stewart and Head. Directed by Morgan Matthews.