Forum Topic

Old and infirm, Frank Sheeran (Rober De Niro) tells how a chance meeting led to a career as a labour union official and mob hitman. Thanks to mostly impressive visual effects we see the elderly Sheeran begin his story as a young truck driver and watch him become the trusted sidekick to both Mafia boss Russell Bufalino (Joe Pesci) and Teamsters' Union president Jimmy Hoffa (Al Pacino). Inevitably the conflict between his loyalty to Bufalino and his friendship with Hoffa leads to a difficult decision, one that tears Sheeran's family apart. De Niro is on good form playing the not particularly bright or articulate Sheeran - there are scenes where he and Pesci communicate more with nods and glances than words. Pesci is wonderfully sinister, an apparently benign mentor concealing an utterly ruthless core. There are plenty of other great performances to savour though the female actors are not well served by a script that is focused on how the men express violent acts through quietly evasive euphemisms. Sheeran 'paints houses' when his boss is 'a little concerned' about someone's behaviour.It's very long, but it's well told and for much of the time it's a pleasure to watch fine actors at work. I don't think it glamourises crime and it's not kind to its central character. Worth seeing on the big screen, and hats off to those cinemas which are showing it. There were at least 40 of us in the Curzon at 11 in the morning, and a lot of coffee was being consumed. Somehow everyone managed to stay seated for the whole 209 minutes.

Norman Redfern ● 2273d

Well at 3 hours+ you get your money's worth in length (make sure cinema seats comfortable or you take your own cushion).Scorsese and De Niro may be trying to "big this up" with all the interviews and articles I have seen but in truth if you have seen "Goodfellas" and "Casino" this is simply a longer re-run of the same type of gangster story. If that is your bag you will love it but over 3 hours plus the "wise guy" dialogue of not so smart mobsters did pale for me. Using this time the backdrop of the story of Jimmy Hoffa the corrupt Teamsters boss who fell in with the Mafia and unwisely refused to step aside when the Mob wanted him to, reprises all the usual Scorsese actors De Niro, Keitel, Pesci (brought out of retirement for his role) and adds Al Pacino as Hoffa. So the acting is strong (if a bit OTT and too macho at times) but the Scorsese style of filmmaking from the earlier films mentioned is plastered all over, hence the inevitable comparison.  The much trumpeted CGI for the lead actors' faces to allow them to also play their characters in younger roles (the story covers late 1940s to late 1970s) does not really work - they look like older men made up to be young but more critically men in their 70s cannot physically move on screen like men in late 20s/early 30s.The cinema I saw at in West End was very full for a 11am early showing. Like "Roma" last year this is a Netflix release so likely to get limited cinema release to qualify for Oscars and then to be streamed for viewing. If interested you may need to move quickly to see on the big screen?

Joe Conneely ● 2274d

A departure for Francois Ozon as this is based on a true story.Alexandre is a devout catholic, 40 years old, living in Lyons with his wife and five children. He is horrified to learn that the priest who sexually abused him when he was 9 and 10 has been sent back to the city and is still working with children. It's time to act. He writes to the Cardinal and ignores initial attempts to fob him off. He secures a meeting with the priest who acknowledges his guilt although he 'forgets' to apologise. The priest sees himself as the victim in all this, enslaved by his own perverted desires. Realising that the church will do nothing, Alexandre turns to the police.His own abuse is beyond the statute of limitations so he sets out to find other, more recent, victims and soon they have set up an organisation to bring the priest, and the wider church, to justice. He's not popular. His own cold, distant parents disapprove of raking up this scandal. Lyons seems to be teeming with 'Ultra Catholics' who support the church no matter what. The bishop nitpicks on the use of the word paedophile on the grounds that 'God tells us to love children', which would be funny if it weren't so chilling.Many of the victims have suffered mental health problems, even physical problems. Or they may be unable to form good relationships. It becomes increasingly clear that the Cardinal knew about this some time ago and did nothing. The priest complains that he asked for help but was ignored.It's a bit slow and too long. The flashbacks add nothing as we are hearing the testimony of the victims decades on. But this is compelling viewing.On general release next Friday.

Susan Kelly ● 2298d

Films that come laden with film festival awards (which this one does) for me have a tendency to often be very overrated or limited in the audiences they will appeal to. This film teeters on that brink but because of its subject (poverty and illegal immigration in post conflict Lebanon) applicable to so many other countries may find it a wider audience.The film is low budget filmmaking done over a long time (apparently six months with nearly 500 hours of footage shot) on a shoestring budget and using small crews with non-professional actors. However what makes the unique difference is the "actors" actually in real life are living the roles they portray, the three leads being a 12 years old boy who is from a poor family; a mother who was an illegal immigrant when the film was being shot and a one year old baby who was born from poor parents.With a very documentary feel as a result, the plotting is very simple being shot over lengthy improvised scenes following the script outline developed by the female director with her husband who was also main cameraman. The ability of the cast to use their real life experiences to depict and improvise lines under this process is what gives the film its edge, though with its endless grind of poverty and abuses suffered by all characters involved, it a gruelling journey. Thankfully what breaks it up is the on camera relationship between the one year old baby and the 12 years old boy that also provides many of the lighter moments across the film.Better than I expected but not a film I could easily recommend to many to go and see.

Joe Conneely ● 2536d

Interesting one this. If you saw "The Big Short" by the same director & writer (Adam McKay) about the 2008 financial crash, which also featured some of the actors in this film, you will immediately recognise the style of storytelling. Characters play out real life persons and events on screen intercut over different time periodss with voice over commentary to guide the viewer along as to what is happening, given the fast pace of story telling, plus interlude moments as certain persons or events get explained to the audience or documentary footage is inserted, often with a comical tone. It is clear the film has little time or respect for Cheney from its opening titles but Christian Bale (virtually unrecognisable from the real life Cheney) in his transformation from a no hoper into a political success by his girl friend and wife (great performance by Amy Adams) kept me fixed throughout. Of the rest of the cast, Steve Carrell like Bale undergoes an amazing transformation into Donald Rumsfeld who was Cheney's mentor and then partner for much of their political careers and Sam Rockwell portrays Dubya as an easily manipulated buffoon. Maybe because I have read so much on the events and characters in this film,  I knew already pretty much most of what was being revealed on screen so for me it ended up being about the main performances which are very well done. I can understand why it is getting so many Oscar nominations for acting though doubt it deserves the Best Picture nomination.

Joe Conneely ● 2565d

My 19 year old daughter made me take her to see this new release and was very impressed.The triangle of a weak (both medically and mentally) Queen Anne (great performance by Olivia Colman) long under the influence of Sarah Churchill in the Court (Rachel Weisz doing the best UK impersonation of Glenn Close I have ever seen) is broken apart by the arrival of an impoverished distant relative of Churchill seeking work at the Court (Emma Stone, betraying none of her US origins and in a role that is miles away from "La La Land").To say much more would start revealing the plot but the intrigue and scheming and the interplay between the three female leads is what makes this film bowl along to its end. An era of UK history little covered in TV and film (compared with say the Tudors) the depiction of life feels like a Hogarth imaged scene. The film was largely shot at Hatfield House and uses natural light throughout in a very authentic way plus use of very wide angle lenses with the image often bowing at the side of the screen as a result makes the film a visual feast.Some may take issue with the script's language (written in modern terms which includes phrases clearly not in use in the 18th century), and it takes other risks (an amazing dance sequence that looks 21st century and modern soundscape and music) but for me simply added to the powerful performances on screen.My daughter was easily the youngest in a well over half full weekday matinee where very few people would have been below 50. One hopes it does well at the box office!

Joe Conneely ● 2575d