What makes the film most successful are the four performers. The standout is Baker (better known as rapper Machine Gun Kelly) who plays Tommy Lee with both a sweet naivety and an insidious mischievousness that make some of the darker moments sneak up on you without feeling unearned.
Her film reaches the audience-friendly highs of a studio comedy while retaining an indie sensibility, both in its visuals and its tone, and coupled with the script’s rooted awareness of the moment we’re now in, it feels fresh, a film that will be rewatched and quoted, held on a pedestal by those who understand its necessity.
Hare cleverly suggests Nureyev’s mixture of courage, hauteur, emotional damage and cool self-appraisal; the Soviet authorities cannot threaten him through his family because he long ago left them behind. An athletic, confident, undemanding film.
As a film-maker, Larson shows promise, and as a comic actor she shows genuine talent. With a less affected, more genuine script, Larson could star in and direct a great comedy. Unicorn Store is not it.
Captive State is imperfectly constructed, at times frustratingly so, but it’s trying, doggedly, to do something different and given the bland efficiency of so many wide-releasing sci-fi movies, that’s hard to fault.
The fiercely charismatic, mesmeric gaze of Lupita Nyong’o holds the movie together, and I have to say that without her presence, the movie’s final spasm of anarchic weirdness might have lost its grip. She radiates a force-field of pure defiance.
It’s an enjoyable enough way to spend two hours but without any commentary or real depth, it’s in need of a bit more suspense or conflict to really oil the wheels, the film too often ambling along when it should be racing.
I wanted a clearer, more central story for Captain Marvel’s emergence on to the stage, and in subsequent films – if she isn’t simply to get lost in the ensemble mix – there should more of Larson’s own wit and style and, indeed, plausible mastery of martial arts. In any case, Captain Marvel is an entertaining new part of the saga.
Foxtrot is a movie from Israeli writer-director Samuel Maoz that is structurally fascinating yet also structurally flawed: its accumulations of ambiguity and mystery are jettisoned by a whimsical final reveal.