Tom’s Rating: 9⁄10 – Lucy’s Rating: 8⁄10 (-1 for singing in the carpark).
The natural comparison for A Star Is Born has to be the Queen biopic Lucy and I saw a fortnight ago. But while both are musical-inspired movies, they share very little else in common. Whereas Bohemian Rhapsody was a relatively light and witty drama, this film is a heavy-hitter with a simple but captivating story that leaves you reeling.
Tom’s Rating: 9⁄10 – Lucy’s Rating: 10⁄10.
The first 10⁄10 review on this blog comes from Lucy for Bohemian Rhapsody that had, I discovered this morning, pretty poor reviews from critics. Perhaps they expected too much, and perhaps they were playing off the controversies that surrounded the film’s production, but we really enjoyed this Queen biopic.
My favourite section of the film came a third of the way through, when the band retreats to a farm to record their latest album.
Tom’s Rating: 7⁄10 – Lucy’s Rating: 7⁄10.
Dogman is the sort of film I really enjoy. The arthouse picture that tells its story as much through cinematography as it does through dialogue. Long vistas and cluttered shots carefully arranged like still-life paintings. Matteo Garone’s story of a trapped and coerced underdog, forced into precarious and often violent situations by the local strongman, was a great film - but the narrative felt like it was missing something.
Tom’s Rating: 5⁄10.
Farrenheit 11⁄9 was my first Michael Moore film. I knew Moore’s reputation, and having read mixed reviews about this documentary, I went to the screening with some apprehension. Unfortunately, while there are some truly shocking moments that resonated deeply with me, the anger it stoked was undermined by the echo chamber it ultimately spoke into.
I did not buy the way Moore stitched the horrific happenings in Flint, Michigan with his overall narrative about Trump’s rise.
Tom’s Rating: 7⁄10 (+1 for space film) – Lucy’s Rating: 8⁄10.
Most people know at least the basics of the first moon landing. There are few ways therefore to spoil the story or, in fact, surprise an audience. First Man relies on the inherent drama and seeming impossibility of this episode in our history to stoke a reaction. On the whole, while it captures the daringness of the Gemini/Apollo missions well, it lacks the gut punch that I was perhaps expecting.
Tom’s Rating: 8⁄10 – Lucy’s Rating: 8⁄10.
Recently more films (and big-budget TV series) seem to be using long, tense shots of characters’ faces to catch the emotional turbulence of their subject. Elisabeth Moss’s character Offred in The Handmaid’s Tale, particularly in the second series, is often shown in silent close-up as her fear, sorrow, and determination fought for control.
In many ways, The Wife builds on this trend. The superficial nature of the story plays second fiddle to a character study of a heavily conflicted yet brilliant woman.