Shoot the People (12A)
Directed by Andy Mandy-Clark
⭑⭑⭑⭑☆

SHOOT THE PEOPLE is a phrase which could refer to the two main art forms involved in this film, film-making and photography. Or, “shooting the people” could refer to the main subject of Misan Harriman’s work, whose photographs have captured protest movements around the world.

Here, director Andy Mandy-Clark documents Harriman’s story and influences, intercutting this with documentary/news footage and interviews with key figures; all adding to the immediacy of the political situations explored.

As the director explains, his lens aims to become an extension of the photographer’s, in “observing the human condition” in all its contradictions. As part of this process, the director also focuses on Harriman’s celebrity status as a fashion photographer/director.

But does this “social justice/celebrity” dichotomy add to or detract from the main issues? It certainly accentuates the cognitive dissonance, and in one scene, Harriman is driving to the Oscars through protests kept well away from the red carpet. Asked how he reconciles this contradiction, he ducks the question.

At one point, Harriman explains that the purpose of his work is in “making sure empathy and humanity does not leave the room.” But is empathy enough, and does he bring more to the process?

In another key scene, Harriman asks “who am I” in relation to his Nigerian/British/diasporic identity and talks about “shooting his own trauma,” therefore bringing a liberatory “postcolonial lens” to bear on his work. Could his celebrity status also be part of that trauma?

Overall, this is a thought-provoking and complex work, which could have been trimmed in places. 
KD
In select cinemas July 10.

The Last One For The Road (15)
Directed by Francesco Sossai
⭑⭑☆☆☆

TWO broke middle-aged friends relive their glory days during a boozy road trip through the Italian countryside with an architect student in tow in this bittersweet coming-of-age comedy which is more bitter and tragic than sweet. 

It is loosely inspired by the “commedia all’italiana” and strives for gritty regional realism as it centres on fifty-somethings Carlobianchi (Sergio Romano) and Doriano (Pierpaolo Capovilla) whose mantra is one last one for the road. 

The pair are stuck in the past following the financial crash of 2008 which ruined their lives. One night during their drink-fuelled shenanigans they meet and befriend Giulio (Filippo Scotti), a shy student who has no idea where his life is heading but just wants to get home and study. Instead he gets roped into their bar crawl as they take him to their old favourite haunts which are now closed down and derelict. 

There is a lot of drink driving (big in the 1970s) in this very depressing buddy film. While beautifully acted, the characters aren’t charming or endearing drunks and there aren’t many laughs either, unlike in Another Round (2020), which came to mind. 

By the end you might want a drink just to forget. 
MD
In cinemas July 10.

Rosebush Pruning (18)
Directed by Karim Ainouz
⭑⭑☆☆☆

SET in Catalonia, Spain, this dark and biting satire examines the privilege and entitlement of a rich white US family who lead the most hedonistic, vacuous yet depraved existence in their isolated mansion.

Director Kari Ainouz continues to explore the idea of the poisonous patriarchal figure in the wake of Firebrand and Motel Destino. 

Tracy Letts plays the controlling father who keeps his four adult children (an impressive Jamie Bell, Callum Turner, Riley Keough and Lukas Cage) on a tight leash following the death of their mother (Pamela Anderson) years earlier. When Jack (Bell) brings his girlfriend (Elle Fanning), an outsider, home to meet his family they feel threatened and become defensive. 

It is a very odd film which contains a lot of body horror and believes it is cleverer than it is. All the characters are obnoxious and hideous and there is not one redeeming feature between them as they show their twisted proclivities. 

This is a hard watch. 
MD
In cinemas July 10.

Moana (PG)
Directed by Thomas Kail 
⭑⭑⭑☆☆

FRAME by frame this is an exact live action copy of Disney’s trailblazing and critically acclaimed 2016 animated feature which captures its joyous spirit. 

So what’s the point, you are wondering, other than blatantly cashing in on another Disney classic animation? Well, Dwayne Johnson returns as the trickster demigod Maui and you can see him in all his glory now. 

He delivers 100 per cent opposite outstanding newcomer Catherine Lagaʻaia as Moana. Johnson is in his true element especially as he performs Maui’s signature song, You’re Welcome. 

The two have a lot of repartee on screen and are engaging to watch. Meanwhile Heihei the dumb chicken/light relief is funnier in this version. 

Gorgeously shot, this live-action remake features all the big musical numbers from the original film and is sure to delight and entertain both young and old alike. 
MD
In cinemas July 10.