Briefly, Please

Credited Director: James Mangold; Credited Screenwriter(s) – Jez Butterworth, John-Henry Butterworth, David Koepp & James Mangold

A strangely orphaned film. The lack of Indiana Jones’ creators, Lucas & Spielberg, leaves Dial of Destiny adrift from its roots – but that suits the place in which we find Indy himself. Separated from the family unit we left him with in Crystal Skull, Indiana Jones’ call to adventure takes some time to bring him back into action. It’s telling that these sections, where he is less sure of himself and far more aware of his age are the most winning parts of the film. Mangold is a fantastic filmmaker but his take on the fully-fledged Indiana Jones sequences can’t quite compare to Spielberg at his best – but then again, who could? As a swan-song for Harrison Ford in this role, it works beautifully, as a film in and of itself, it’s great fun – as another addition into the ranks of the Indiana Jones series, it ranks in the middle somewhere. The de-aging is fine.

Even Briefer, Please: A wobbly Yes, fun that edges dangerously close to (shudder) fanfiction – the real winner here is Ford who absolutely delivers in the role he clearly cares the most for in his canon.

Director – David Fincher; Credited Screenwriter – Andrew Kevin Walker

Fincher takes on the lean, almost startlingly straightforward narrative of a nameless contract killer (Fassbender) who goes on an international revenge rampage after a hit goes wrong. The film is elevated by a comedic bent as this hitman’s chilling competence is matched only by his near constant gaffs – highlighted by the extreme dissonance between Fassbender’s voiceover and his actions. The ensuing tonal whiplash works for the most part but requires a closer viewing than a film of this type typically asks. The real highlight of the film is Tilda Swindon’s eventual appearance which subverts and reinforces tropes in a deft journey of a scene.

Even Briefer, Please: Slightly light on its feet but with all the intricate care and skill of any Fincher film.

Director – Ridley Scott; Credited Screenwriter – David Scarpa

Scott and Scarpa weave a tapestry of French history in which tables are regularly turned and accents waver across the known universe. Scarpa’s script is deftly punctuated with a comedic vein of cynicism that theatrically heightens the drama to a dark and twisted farce. Phoenix and Kirby, as Napoleon and his empress-to-be Josephine, ground the picture with compelling and deeply human portrayals amidst a visually scrumptious display of wealth and blood. A longer cut down the line might round out the film and elevate it to an epic but what we have is nothing to sniff at whatsoever. Well worth two-and-a-half hours of your time and more besides.

Even Briefer Please: A confident Yes. History be damned, this is a worthy addition to the modern myth of a tin-pot tyrant.

Director – David Fincher; Credited Screenwriter – Jack Fincher

Mank manages to be both a breezy quip-filled ride through the golden age of Hollywood while also interrogating the very point of such an exercise. Here, Fincher is at his most introsopective, asking pointed questions about the film industry, its role in politics, as well as the pitfalls of the ironic, detached apathy exemplified in spectacular fashion by Gary Oldman as Mank himsef – a liberal in a capitalist world, an alcoholic and gambling addict who, through the course of the film and his own self-interrogation, will co-author Citizen Kane. The supporting cast (or, in Mank’s own words the non-headliners) are also excellent, particularly Amanda Seyfried in a humanising and often hilarious turn. Though special mention too should go to Tom Burke, saddled with the unenviable task of playing Orson Welles, a challenge he rises to admirably. Mank is mediative and electrifying and absolutely cannot be missed.

Even Briefer, Please: A Yes without reservation, Mank is a cinephile’s dream.

Director – Cary Joji Fukunaga; Credited Screenwriter(s) – Neal Purvis, Robert Wade & Phoebe Waller-Bridge

The Craig era of Bond wraps up with an absolute belter, hitting both the most explosive and sentimental notes. And this certainly is Bond at its most unashamedly soppy, though No Time to Die makes sure to tinge the sweet with the bitter edge that has so defined Craig’s tenure. The action is excellent, heavy and brutal, with a particularly exhilarating chase sequence near the start and an excellent shoot out featuring Ana De Armas’ Paloma – whose quirky cameo is a highlight of the film. The cast are generally reliably good, though one feels Malik is doing the best he can with an arguably muddled villain. Craig’s swan song, though perhaps a tad long, completes the mission statement of Casino Royale, bringing the franchise crashing into the 21st century without sacrificing the elements that make a Bond film so idiosyncratically enjoyable.

Even Briefer, Please: A firm Yes, James Bond will return; Craig won’t – but what an exit.

Director – Lyn Shelton; Credited Screenwriter – Lyn Shelton & Mike O’Brien

An unusual situation – I can’t find any one element of Sword of Trust to wholeheartedly recommend it by. The script is often funny but rarely laugh out loud, the plot is engaging in the moment but quite inessential. The actors are generally rather good the majority hailing from a comedy background. Marc Maron in particular gives a very natural and honest performance – his brief scenes with Shelton’s Deidre are a particular highlight. Sword of Trust’s strength, more than anything else, is in its tone, its vibe – held together by Shelton’s confident direction, which calls to mind the best of Richard Linklater’s work. The viewer may not be left with much but the 88 minutes spent in the company of this cast of characters ends up feeling remarkably worthwhile.

Even Briefer, Please: It’s a high end of Sure, or a low end of Yes, depending entirely on your mood, nothing mind blowing but a pleasant romp with the occasional emotional kick.

Director – Shawn Levy; Credited Screenwriter – Matt Lieberman & Zak Penn

An intriguing twist on the awakening AI genre, so well codified by Her in 2013, with the AI in question being a non-playable character in a mass multiplayer online video game. Despite charming and earnest performances from Reynolds and Comer, the film rings hollow. For the gaming audience, the cries of “that’s not how games work!” will be abundant, but it’s so crammed with gaming references and jargon that it must, to an extent, shut out anyone else. There’s also a third act romantic twist that ultimately just feels creepy. Free Guy is certainly funny and engaging enough but one can’t help wondering if anyone in the production knew who this film was for.

Even Briefer, Please: On the lower end of a Sure, watchable and enjoyable enough, but never as interesting as the premise promises.

Director – Guillmero Del Toro; Credited Screenwriter(s) – Guillmero Del Toro & Kim Morgan

In two and a half hours, with the assistance of William Lindsay Gresham’s novel, a whip smart script, some astonishingly adept & confident camera work and an absolute powerhouse of acting talent, Del Toro spins a yarn of pitch black noir. His control over every inch of the screen is practically Kubrickian, every frame is dripping with intent and atmosphere – it’s absolutely gorgeous. Cooper anchors the film with a restrained and nuanced performance that builds and unravels in equal measure. But the film is a true ensemble, with not one of the cast putting a foot wrong, each moment crammed with raw emotional truth. That being said, it’s just too long. As fantastic as it is, the film could have benefited from a tighter second act, though I have no idea what one could bear to cut from the narrative. Despite its length, Nightmare Alley remains an absolute ride, packed with horror, beauty, humour, human honesty, and gut wrenching inevitability.

Even Briefer, Please: An absolute Yes, a beautiful and wretched journey, but one that can test your patience. If there’s a better example of film noir in the modern era, I can’t name it.

Director – Ridley Scott; Credited Screenwriter(s) – Nicole Holofcener, Ben Affleck & Matt Damon

An ingeniously layered film, one that plays with any expectations you might have of a Ridley Scott-helmed medieval epic. The four leads are excellent, with Damon and Affleck in particular giving egoless performances, while Driver plays on his charismatic bad boy image to devastating effect. The show is stolen by Jodie Comer in a nuanced and, at first, deceptively simple role. By the finale, both actor and character come into their own and are left as the only thing left to care for on screen. If anything is lacking, it may be in the pacing of the film, which, even at 2 hours and 33 minutes, can feel slightly rushed. Of the four medical epics Scott has crafted, this may not be the best, but may well be the most interesting and certainly rewards multiple viewings.

Even Briefer, Please: Oh it’s obviously a Yes. But the apparently forthcoming extended cut may be even more worthy of your time.

Director – David Lowery; Credited Screenwriter – David Lowery

A beautiful, captivating & tragicomic journey through the annals of Arthurian legend, one that escews the epic for the personal touch. It feels in many ways like a sucessor to A Field In England, ultimately ending up a richer and more satisfying experience. Patel makes for a charismatic and relatable lead, further solidifying his status as the auter’s movie star. The combination of his performance and Lowery’s direction gives a window right into the soul of a character that reads merely as a cipher on the 700 or so year old page. The film will lead you fufilled, often dazzled, and with the voice of Ralph Ineson ringing in your ears.

Even Briefer, Please: An absolute Yes, very few films like it in the world.