Critic's Notebook

Getting His Irish Up

IFC Films

MOVIE REVIEW
Black ’47 (2018)

By SARAH MANVEL

“Revenge is a dish best served cold” should have been the tagline for this movie. Instead, we got “In Ireland’s darkest hour, vengeance shines a light.” That doesn’t make much sense, and is pretentious to boot. But it does rather sum up precisely where “Black ’47” doesn’t quite succeed as much as it wanted to, or should have. Of course, the political moment being what it is, that doesn’t much matter.

Come and Knock on Our Cabin Door

Wolfe Video

MOVIE REVIEW
Anchor and Hope (2018)

By SARAH MANVEL

Eva (Oona Chaplin, a k a the first to die at the Red Wedding of “Game of Thrones”) is English; Kat (Natalia Tena, aka Tonks from the Harry Potters) is Spanish. They are a happy couple living on Kat’s canal boat in east London. We meet them at the funeral for their beloved cat, which takes place right before Kat’s old friend Roger (David Verdaguer) comes from Barcelona, Spain, for a long visit. And bam! Suddenly a pair of firmly committed lesbians decides to embark upon something as heteronormative as motherhood without having a single sober conversation about it. Before we examine what goes wrong with that choice, let’s discuss what goes right.

Uneasy Rider

Lorey Sebastian/Entertainment Studios Motion Pictures

MOVIE REVIEW
Hostiles (2018)

By SARAH MANVEL

Did the makers of “Hostiles” realize they were creating something that nails the zeitgeist? One hopes so, because as an example of the current reckoning and all the ways in which it is problematic, “Hostiles” is a towering achievement. As a film, it’s fine, but its importance lies in the current moment.

Big Heat in a Lonely Place

Susie Allnutt/Sony Pictures Classics

MOVIE REVIEW
Film Stars Don't Die in Liverpool (2017)

By ALAN DIMENT

This understated and affecting film signs off with its subject, golden-age screen star Gloria Grahame (played by Annette Bening), picking up a Best Supporting Actress Oscar for her part in “The Bad and the Beautiful.” Grahame makes just a brief visit to the stage – appropriate enough as she was only in the film for nine minutes – expresses thanks and slips off stage right. Given that this archive footage is the last thing we see before the credits roll, one could see it as a subliminal message drumming up support amongst Academy voters for Ms. Bening’s brilliant portrayal of the older Grahame. One can hardly begrudge her this shout out. Four nominations and not one golden boy on the shelf, not to mention being cruelly overlooked for her bravura turn in “20th Century Women.”

Gay to December

Sayombhu Mukdeeprom/Sony Pictures Classics

MOVIE REVIEW
Call Me by Your Name (2017)

By SARAH MANVEL

This is a very good movie designed for people who are helpless against the appeal of Armie Hammer — which, let’s face it, is most of us. Do we have another movie star handsome and suave enough to evoke the Hollywood stars of old? Most movies are built around men either dull to look at or dull to be around, who are not willing to grin and shrug and casually wander where their curiosity leads them so that you’re compelled to follow.

The Death of One Man Is a Comedy

Nicola Dove/Festival du Film Britannique de Dinard

MOVIE REVIEW
The Death of Stalin (2017)

By SARAH MANVEL

I once asked a Russian colleague why all Russian movies were so depressing; he laughed at me and said, “Look at the history!” I said there must be some amusing Russian movies, and he laughed again and said they were so complicated and culture-specific they were impossible for a foreigner to understand. Five minutes’ rigorous research on Wikipedia informs me that the circumstances of “The Death of Stalin” are broadly historically accurate. It is as yet unclear as to whether that will make me feel better.

L.A. Confidante

61st BFI London Film Festival

MOVIE REVIEW
Gemini (2017)

By SARAH MANVEL

You don’t often see movies named after a tattoo. It’s even more rare to see a movie about the power dynamics within a female friendship. “Gemini” is about a female friendship up against the truest test: who you call when you need to move a body.

Fostering Care

Lucia Faraig/61st BFI London Film Festival

MOVIE REVIEW
Summer 1993 (2017)

By SARAH MANVEL

They say never work with children or animals, which is great advice for the theater and terrible advice for film. Children’s natural affinity for pretending, their trusting nature and an unquestioning ability to accept their circumstances make them naturals in front of the camera. First-time director Carla Simón Pipó has made something amazing here, since her two main actresses are six and three and give heartbreaking, unaffected performances. The main question is why.

Mistress of Unceremonies

Cinema Guild

MOVIE REVIEW
On the Beach at Night Alone (2017)

By SARAH MANVEL

What the world needs now is not another movie about a young actress upset over the end of her relationship with a much older movie director. It’s just not. It’s not “On the Beach at Night Alone’s” fault that it’s going to be tanked by the zeitgeist, but it’s possibly also for the best.

Child Nonsupport

Anna Matveeva/Sony Pictures Classics

MOVIE REVIEW
Loveless (2017)

By SARAH MANVEL

As a metaphor, “Loveless” is as subtle as an anvil. As an examination of a very ordinary way lives can be ruined, it’s spectacular and devastating. It’s somehow both extremely kind and extremely cruel, although often the kindness is given to the people who need it the least. And it all hangs on one moment in a restaurant – more on which later.