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Film round-up with Maria Duarte

The King (15)

Directed by Eugene Jarecki

4*

 

FILM-MAKER Eugene Jarecki embarks on a fascinating musical cross-country road trip in Elvis Presley's 1963 Rolls Royce and paints a penetrating portrait of the nation and the state of the American dream as he does so.

He interviews a diverse array of the famous and non-famous, including Alec Baldwin, Ethan Hawke, Emmylou Harris, Dan Rather and Mike Myers — who provides the most hilarious but insightful Canadian view — about Elvis and the state of the country.

The King's songs and films are interwoven with most of the interviews and live performances in the back of the car from the likes of EmiSunshine and New York City rapper Immortal Technique as the film tries to compare Elvis's rise and fall with that of the US and the American dream, with differing success.

As someone points out, is the country now about to OD just like the 42-year-old obese Elvis did?

It is a very gentle but thought-provoking film which, in providing a fresh look at the legendary Elvis, is a must-see for his ardent fans.

 

Bad Samaritan (15|)

Directed by Dean Devlin

3*

 

A PAIR of car valets turned burglars get more than they bargained for when they target the wrong customer in this tense thriller, driven by a stellar and chilling performance from David Tennant.

When Sean (a sterling Robert Sheehan) sets off to rob the home of the rich but obnoxiously rude Cale Erendreich (Tennant) he discovers a woman (Kerry Condon) being held captive a la Fifty Shades of Grey.

Unable to free her, he alerts the police, sparking a nail-biting cat-and-mouse game with Erendreich, who sets about destroying Sean's life and everyone in it.

It's a run-of-the-mill story, but director Dean Devlin (Geostorm) manages to rack up the tension and fray the nerves with well-placed thrills, along with Tennant's powerhouse portrayal of a brilliantly smart but ruthless psychopath opposite the earnest but passionate Sheehan.

It's something of a gem of a horror thriller that surpasses expectation.

 

The Children Act (12A)

Directed by Richard Eyre

3*

 

EMMA THOMPSON gives the most nuanced and emotionally charged performance of her career as a high court judge who, in the midst of her marriage imploding, has to decide whether to force a 17-year-old Jehovah's Witness into having a life-saving blood transfusion.

Based on Ian McEwan's novel which he has adapted for the screen, and directed by Richard Eyre, this is a powerful and compelling drama that comes to life during its riveting courtroom scenes. Yet, once it turns into stalker territory, it loses its momentum and a little of its credibility.

But it is Thompson, showing her considerable range and extraordinary talent, who keeps you engaged opposite an impressive performance by Fionn Whitehead as the teenaged Adam who refuses a blood transfusion on religious grounds but at 17 is still considered a child under the law.

Stanley Tucci — as good as always — has little to do here as Thompson's beleaguered husband who warns her he is about to have an affair as her work has taken precedent over their marriage.

An eye-opening drama about the ethical and legal dilemmas faced by high court judges, this is definitely worth seeing.

 

Alpha (12A)

Directed by Albert Hughes

3*

 

A TRIBAL leader's son teams up with the lone wolf Alpha for survival as he tries to prove himself in this sweet but surreal coming-of-age tale set in the last Ice Age.

It is the slow growing and blossoming trust and bond between them which wins you over as 17-year-old Keda (a redoubtable Kodi Smit-McPhee), who rules with his heart and not his spear according to his mother, is forced to join up with Alpha when he is left for dead on a hunting trip with his father.

The scenes are heart-warming yet suspenseful as you wait for Alpha to pounce on Keda at any moment.

Set 20,000 years ago in what is now southern France and Spain but shot in Canada, the sweeping landscapes are breathtaking in what's a visually stunning film.

Keda and his tribe speak a language which apparently is close to what it's believed would have been spoken at that time but, fear not, it is all subtitled.

A bizarre but captivating film.

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