Memoria, the latest film from Palme d’Or prize-winning director Apichatpong Weerasethakul, is a fresh and worthy instalment in the rich history of sensory, slow cinema.
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The story concerns a middle aged woman and her elderly mother, both played by Tilda Swinton, who book in at a remote hotel.
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This film version of the story of the wooden puppet who longs to be a real boy is very different from the Disney one. This is after all del Toro, whose dark imagination gave us Pan’s Labyrinth and The Shape of Water.
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Wes Anderson’s love letter to The New Yorker magazine and to old France is totally mad, totally original, delightful and unpredictable. It’s also surreal in places and often very funny. I loved it.
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This second animation film from the versatile Wes Anderson, building on his experience when making “The Fantastic Mr Fox”, is much more ambitious.
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The film holds the attention through its sheer pace and theatricality, though it’s a technique that in some ways keeps the audience at a distance.
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This latest addition to the Marvel comics’ cinematic canon is a handsome looking beast, which benefits from a classy, largely British cast in the main roles and really stunning special effects.
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This is an intelligent film made for adults with a superb cast of brilliant actors. What more can you ask for? Well, you can ask for a well-written script with humour and seriousness combined, which you have got here and a story that has some mystery and unfolds in a fascinating way.
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The film is based on the script of cult horror film maker Dario Argento’s 1977 film of the same name, but with a rather different take on the idea.
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I really didn’t like director Joanna Hogg’s film The Souvenir (2019), which was the first part of her memoir based on her life as a young woman. I found it boring and pretentious, so I was expecting to feel the same about her follow up film.
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