The room's lights turn off slowly like a fall in slow motion. A hidden screen emerges behind the majestic red curtains. Silence rules and a journey which transcends all borders into an infinite dimension of ideas begins. This is the world of cinema.
A fun and short dark comedy feature where a house party of a newly-appointed Shadow Health Minister of a political party slowly deteriorates to unravel into an unexpected and intelligent twist.
British filmmaker Sally Potter is certainly one of the big names of independent cinema. Known for a few experimental films, she takes a much sober and austere approach to tell the story of different people celebrating the appointment of Janet (a brilliant Kristin Scott Thomas) as Shadow Health Minister in a important political party. Shot in black and white with a stunning cast, the film is certainly one of the best films of 2017 though it has had quite a discrete performance at the box office.
The brilliant script, between a borderline cinematic and theatrical experience, invites the viewer to explore these very different upper-class characters of British society where hypocrisy, greed and deceit is wonderfully hidden by courteous words and diplomatic to ridicule conversations. They say that the soul of a party are its people and the evening slowly deteriorates as each one of the characters start opening their souls and let their inner demons slowly possess the festive nature of the gathering. We are inevitably driven by the question as of what will happen at the end of the night, which will be bring a surprisingly good and intelligent twist.
If you are looking for a short, entertaining and funny dark comedy
supported by a great cast who have all joined under Sally Potter's wing,
then we heartily recommend this film. Another one to add to your list!
Here we recommend perhaps one of the greatest pearls we've discovered this year. The latest film from brilliant Canadian filmmaker Xavier Dolan is another bulletproof showcase of his talent and a poetic story between two lifelong friends who are torn by questions after they share a first kiss.
Xavier Dolan has one of those unique qualities to make films that take the viewer in a cinematic journey not only as a viewer but to a certain extent, as a participant of it. Most scenes in this film are illustrations of what life is all about: intimate conversations with a loved one in the kitchen or with your lifelong friends around a drink or playing a drinking game in a house party. Not only we see these simple events taking place bur we feel part of them as well and accompany two lifelong friends Mathias and Maxime in these. Suddenly, there is a disruption and everything changes. The two young men voluntarily accept to act and kiss in a short-film scene for a young, snobbish and eccentric filmmaker.
The tone of the film slightly changes to become a new film in itself: the love story between Mathias and Maxime. We are in a new vehicle and none of the two characters know where to drive to. They are confused and perhaps ashamed to admit to each other how they truly feel. However it is in the search of answers to a storm of doubts and questions that they are able to find themselves and that is the true beauty of this film. It might take several hard hits along the way to find the answers but at some point, even when thunderstorm hits, they come along like raindrops and we embrace the rain.
A fantastic and beautiful LGBTQ+ film that is worth adding to your filmography. Supported by a solid script and a great soundtrack, Xavier Dolan reminds us that he is one of the greatest filmmakers of the 21st century.
Hello everyone! Thank you all for your personal messages asking us to get back onto Red Curtain Cinema. It is humbling and beautiful to see that after all these years, we still get messages of support around our blog. Even if we wished to write every single day, it has been definitely difficult - we do work besides watching films- but here we are now!
As the world is still stuck with COVID-19 and we are being asked to stay at home, films are more important than ever. Not only can they be incredible vehicles to take us to far away lands and magical worlds but they can reveal brutal social realities and help us understand better the world we are living in.
The power of Cinema lies in creating these emotional connections with characters - fictitious or not - going through a journey at a certain time and quite often, acting as mirrors of ourselves. Sometimes we feel so related to the characters that they could be representing us or a fantasy of what we want to be or achieve. Cinema is an emotional journey and certainly a powerful one.
With that in mind, in honour of this pitiful and awful 2020, we pulled together a list of fantastic films worth watching while at home - ''The Great 20s Film List''. This is the first one on our list and it is brilliant:
I) WINTER'S BONE (2010) by Debra Granik
This was the film that brought Jennifer Lawrence under the Hollywood spotlight with this gripping independent feature brilliantly directed by Debra Granik. She portrays a fatherless young woman living in low-income rural Missouri with caring responsibilities over her two young siblings. As her family faces eviction, she needs to find her father who was released from prison to find a solution to their dramatic situation.
Not only we haven't heard of this film before but we were also surprised that this film doesn't appear in many 'Best Films of the 2010s' list. Filmed with natural light and quite a raw photography in most daylight scenes, it is a brutal testimony of the reality of many low-income families in rural America. With a documentary touch, Debra Granik takes us to Ree's (a fantastic Jennifer Lawrence) tough reality but whose inner strenght and determination for a better future for her family brings light into so much darkness.
As it is quite difficult finding mainstream films directed by Women artists, this one is a must on your list. We need to put great Women directors as Debra Granik under the spotlight as they deserve recognition as other great male directors. Interestingly, most of the lead characters in this film are women and they are the ones who keep chaotic homes in order. They are the ones who decide who their junkie or criminal husbands should speak to, they take care of the children, they take care of their rural gardens and animals. They are the ones who are the key to Ree's final resolution. A brilliant film!
A solid comeback from Edward Norton both as lead Actor and Director in a 1950s neo-noir film in a conflicted New York where corruption and racism dominates the streets.
Edward Norton's great comeback after being far away from the big screen for a few years is a delightful homage to the 'film noir' genre where mystery and crime are at the heart of the story. Supported by a fantastic cinematography, the 1950s New York shows its dark soul with black alleys, dark corners and threatening figures that walk around like ghosts ready to attack the few sparks of resistance against its embedded racism and corruption.
The key pillar which makes this film unusual is the complexity of its screenplay: mixing real-events where New York City was looking to eradicate poor black community neighborhoods and the following local resistance (with the legendary Jane Jacobs at its head), and a classic crime mystery which will lead Edward Norton's character into the dark corridors of power where political decisions have only the face of power and greed. Amidst all this, a quite unusual lead character who suffers a condition that brings a comical but also a dramatic tone to the overall portrait.
The fantastic cast along with the very good soundtrack (led by the magistral Jazz musician Wynson Marsalis) makes the complex script shine, even if the length of the film and the different clues of the mystery plot do not seem to intertwine quite clearly. Overall, a good watch.
A dark and thought-provoking story-telling on the origins of one of DC's darkest supervillains. Get ready, you are going for an unsettling ride that will caress your darkest thoughts.
Joaquin Phoenix is the Joker. The physical and mental metamorphosis of this character starts immediately in the first scene of a film that will constantly flirt between a politically incorrect morale and a liberal apologetic analysis of someone's transformation into a popular anarchist symbol. The heart of this film is this 44 year old actor, clearly the performance of a lifetime, who is able to lead a quite weak script but whose performance makes this major flaw go unnoticed. He makes us explore a plethora of feelings with great intensity, from feeling pity to be afraid of him, that we cannot remember last time we were so blown away by a performance of this level.
Todd Philips takes us into the darkest streets of Gotham City even though this could be in any large city where individualism, selfishness and anger is at its paroxysm. Gotham City becomes a reflection of the turbulent times of the 21st century (particularly in the US) with Government budget cuts, high-homicide rates, strong social inequalities and especially, an angry society. Despite quite cliche scenes and predictable outcomes, the wonderful score by Icelandic Hildur Ingveldar Guðnadóttir as well as the fantastic photography privileging faded colours and shaky shots make the film an actual bumpy ride!
This original re-imagination of how the Joker became who he is will set a new benchmark for Marvel and DC studios. Maybe the time will come for Supervillains taking the throne from Marvel superheroes denouncing a capitalist, egocentric and individualist society that prefers to ignore people asking for help helping to generate monsters that do not only feel self-pit but also who wants to watch the whole world burn.
The first part of the long-awaited epic battle between Thanos and the Avengers fulfills its main purpose of entertaining people in thirst of explosions and epic battles but undermines dramatic elements that could have made it one of the best superheroes film of the decade.
Ten years after the start of 'Marvel-Phase 1' (with the very good Iron Man), comic-fans long awaited day for the final battle that will determine the future of (many) galaxies has arrived! After plotting a wide-range of non-Machiavelic strategies to destroy the strongest superheroes on planet Earth (remember the final battle of the first Avengers?), Thanos decides to confront everyone himself. After all, he is the big bad guy.
Based on this quite simple plot - and after 18 Marvel films - we are still surprised by the creativity of directors Anthony & Joe Russo to provide an incredibly rich film in spectacular action sequences and many (many) surprises in regards to the destiny of many lead characters. The Russo brothers make it clear right from the start: after directing one of the best Marvel films, Captain America: Winter Soldier, they are here to take us to a ride we have never experience before. Suspense and outstanding visual effects are definitely part of the epic ride. However it has a strong weakness: a failed attempt to bring dramatic components to the same level.
As any concluding chapter in a saga, strong dramatic twists are part of the experience. Even if we are familiar with the characters (it has been 10 years!), little empathy has been felt with the characters. The Russo brothers have tried to replicate the effectiveness of Lord of The Rings: Return of the King but it is not solid enough. This said however, it is only Part-1. We will have to see what Part-2 reserves.
Being able to cross-over so many superheroes in a 160min length film is quite impressive and does not fall into the dullness of films such as Batman and Robin and Suicide Squad. We get what we ask for and it is a visual delight. This film is the perfect Friday/Saturday night-out to the cinema. Our final verdict: do not expect anything spectacular, just expect having fun.
This pearl was released in 2004 but was a box-office flop. We know how cruel the cinema market can be towards masterpieces such as The Fountain but this is why we created a space here, at Red Curtain Cinema, to recommend films that deserve to seen again.
The originality from The Fountain comes from its philosophical plot that is brilliantly deployed through Aronofsky, the music of Clint Mansell and Hugh Jackman at its best (literally). We remember watching this film and being unable to say anything once the lights turned on. This is not a classic Hollywood film about death but a strong reflection about one of the greatest fears: the fear of loosing someone we love.
How to control that fear? Can Death be defeated? The Fountain is not only about death but also, and mostly, about life. 3 different periods in history, 3 identical stories: he loves a woman and he wants to promise her an eternal life. The fear of being away from her is unbearable.
A truly masterpiece as rarely seen in cinema. It avoids all the Hollywoodean clichés and talks to all of us, who have already lost someone. It has been unfairly forgotten but if you haven't seen it, this is the chance for you to see a film that you will remember.
Mel Gibson's new film is a surprisingly good film filmed with great sensitivity to shed light into the humanity of a man amidst the brutality of war.
Mel Gibson's comeback as a film director was at first received with a cautious welcome from Red Curtain Cinema. We do not forget the horrible experience that was The Passion of Christ. We were afraid to see again gore scenes, striking visual sequences and accentuated drama. However Mel Gibson decided to privilege the real-life character of Desmond Doss (Andrew Gardfield) and his promise of never using a gun and simply operate as a medic in the battlefield. Gibson makes his statement about war through the compassion, courage and humanity that Doss has towards his mates but also towards his enemies.
Andrew Gardfield, in his best role of his career (with The Social Network) is the best asset of the film because we do not understand the choices of Vince Vaughn and Sam Worthington (especially him) as supporting actors. They are empty characters with no interest in this original and compelling story. The other positive aspect of the film is its photography, done with great care that contrast with the common brutality in war films (which became mainstream after Spielberg's Saving Private Ryan).
If there is a weakness around this film is perhaps the "too" cautious approach of Mel Gibson when it comes to telling the story. He restrains himself and that is quite obvious since his masterpieces Braveheart and Apocalypto which embraced violence and intense drama supported by a solid story as one package. Hacksaw Ridge fails to move as Mel Gibson's has already shown the ability to but nevertheless makes this story worth being told. In times of individualism and lack of compassion towards suffering people in this globalized world, it is good to look behind and see what people did against the odds such as Desmond Doss. A classic moral fiber but that does mean it is not appealing.
The junkies from the 1990s are back but in a much more fast-paced digital world where the insignificance of life is stronger and the lust for life predominates with nostalgia.
"Choose life, choose a career, choose a family...". Those were the first words of one of the most influential British films ever made back in 1996. Director Danny Boyle and its cast have done a long way ever since, and the stakes due to the high expectations were critical. Sequels are rarely as good as their predecessor so we went to the dark room with a certain dose of anxiety and fear. However, T2 Trainspotting turned out to be a very good surprise. T2 Trainspotting achieved what The Godfather II did: a sequel without being a sequel. A new story strongly linked to the first one but with a solid scenario that allows you to see it as a stand-alone film.
T2 Trainspotting is brilliant as it explores the deep sense of nostalgia that exists today. If Trainspotting was about a group of junkies in the booming glory of Britain in the 1990s, then its sequel is about is the same characters in the booming decade of nostalgia and pessimism. "Choose zero-hour contracts, choose Facebook, Twitter, Instagram and hope that someone somewhere cares and choose watching history repeat itself" is what Mark Renton (brillianty portrayed by McGregor) chooses to say when thinking about his time. It is a decade of loneliness, strong individualism and exhibitionism. "Choose life" does not hold the same meaning as it had back in 1996. The only thing that persists is addiction. Be addicted to life, but how can you be addicted when the world is full of crap?
Many things can be said from this film but we assure you that it will be a great ride, with dark and dramatic sequences along with the comic elements that made Trainspotting famous. It is wonderful to see all the cast back to the screen as they clearly believed in Danny Boyle's vision for T2 Trainspotting. The soundtrack is brilliant, appealing to the classic artists from the past ( Iggy Pop, Blondie) but also to the current ones (Young and Fathers). The music, as well as the photography, will make several references to the first movie which is why we highly recommend to see the first film before this one.
Let yourself go into nostalgia because this is what our time is all about. The glory from the 1990s faded away and we are constantly looking for a new cultural identity. The promises of a modern world were simply capitalistic lies to make us become addicted to ideas of wealth, happiness and love. T2 Trainspotting smashes them further and it such a delight to finally have a film that not only talks about it, but also makes you think about what you want to choose for your life.
A strong, thought-provoking story based on real events that grasps controversial debates about the Holocaust with a politically-correct approach.
This film is based on the trial between British Holocaust denier John Irving and American Historian Deborah Lipstadt which was initially about diffamation resulted into a symbolic fight against racists and Neo-Nazis supporters. The arguments presented by Irving (impeccably portrayed by Timothy Spall) are still very frightening for a modern society traumatized by the cruelty of Mankind in World War II. Lipstadt is the symbol of that society, which Rachel Weisz enacts very well, that does not forget and cannot tolerate people who denied the horror of the past. Faced against a racist and antisemite character, she finds herself in the arena with British lawyers (with Tom Wilkinson at the head) to shut out Holocaust deniers.
There are emotional sequences, such as one taking place in Auschwitz, which bring the soul of the people who suffered at that time. Those scenes are the heart and soul of the film which opposes to the trial scenes, quite dull most of them. The film does not seek to explore these real differences and why this Holocaust denier keeps being one. As a geeky person, I have wondered why those differences exist despite massive evidence of the Nazi horrors? Shame the film did not go through that and instead went into a good/evil dynamic to reach Hollywood standards.
It is still an interesting film and quite a strong topic to think about. This film talks about Holocaust deniers which is one of the greatest taboos today and it decided to portray this battle in a trial that occurred in the mid-1990s. Solid but not excellent.
A coming-of-age film with a Del Toro’s “Labyrinth’s
Pan” inspiration whose structure is quite alike a fairy-tale. However not all
tales are easy to go through.
We all remember
the short stories they use to read when we were younger. Not all of them are
easy but are inherently constituted by societal morale. These were the rules
that you had to follow in order to be accepted by society. However, this film
goes against that and asks the viewer: and what if there are some obstacles
from which that there are no recipe to face them? What if those obstacles are
too harsh?
The Tree, voiced
by the deep and unsettling voice of Liam Neeson, personifies what many people
would feel about this obstacle that 12-year-old Conor is facing. This can be
from empathy, companionship, sorrow and anger. His strong bond with his mother
(the solid Felicity Jones) is his strength but also his weakness. The Tree asks
also the darkest existential questions: what if love becomes something so dark
that it makes it hard to wake up everyday? Is that same love the one that will
help you to see the light again? Apologies for
not telling anything about the story but we believe that this film is much
better off that way. You should sit and let yourself go by its story. What
struck us the most was its ability to captivate the viewer with each sequence
involving the Tree and how the viewer becomes a protagonist in interpreting the
morale. It is not as obvious as you think but remember, in all tale there is
something to learn at the end.
We've received your kind messages , asking for when will we write new film reviews. Unfortunately we will take a short break from this. We will undertake some reforms within the Red Curtain Cinema to make it sweeter and will be back before the end of Spring.
And as a last gift before we take this break, here is the new teaser for Harry Potter's spin-off Fantastic Beasts and where to find them
X-Files has been, for sure, one of the best TV series ever made. It had a mixture of science-fiction, horror, thriller and action. No one ever achieved to be such quality before the explosion of series by ending 2000s. It is worth remembering that it is the only series that was adapted twice for the big screen (in 1998 and in 2008). Eight years later after X-Files: I want to believe , a mini-series revival comes to life.
The worldwide known theme of the series has been adapted for the two films. Both have a very different approach and very compelling. One privileges the drums, the other privileges electronic sounds. Go back to the world of X-Files!
We'll give you the link to a fantastic article about women in film. Why women, especially the latest action films, have to be strong? Why men are strong by "default" and women aren't, so that we have to be amazed when we see one? These questions are brought up in this fantastic article by Sophia McDougall in The New Statesman.
A surprisingly solid sports drama film that brings old classics with a fresh air from the post-1980s generation. Who would have thought?
A new Rocky film in the saga! This is the seventh one after the acclaimed Rocky Balboa (2006). This time the big star is not Stallone but Michael B. Jordan's character: the son of Apollo Creed. Yes yes, Rocky's best friend who died in Rocky IV. We are not spoiling anything, don't worry. We were betting that this film would be uninteresting and soulless. However we were greatly surprised to see it was the opposite.
This film aligns in this "old-classics comeback" movement with Terminator, Mad Max and Star Wars. They all applied the same-formula which has proven to be successful: to take the viewer into a slow transition between what's the "old-school" characters and the new ones. This blend helps to keep references for the fans whilst discovering new and exciting characters. This is the same for this one. Nevertheless it stands out for its more intimate focus on the evolving relationship between Rocky and Creed. They become friends and then, family. What binds these two men is their determination to fight against adversity, to fight for what they dream and want to. The Rocky character has taught generations with those values: now it is time to actually live a legacy with Creed.
This film, like Star Wars: The Force Awakens , has been done by a Rocky fan for Rocky fans. Anyone can enjoy it as it cares more for the soul of these two mens rather than boxing fights. They are the physical expression of something much more spiritual that links Rocky and Creed. It is important to highlight the incredible photography: it is done with great care and no one has ever seen boxing fights with those angles and with such dynamism. The acting by Stallone, for once, is very good and well-deserved winner for the Golden Globe. The new character Creed defies the stereotype of the black guy who has things to prove to himself and to the world. He is quite surprising and has a sensitivity that most of these characters generally lack. This gives him a complexity rarely seen in a sports drama. A great homage to Rocky and a good-spin off for a new generation of viewers!
One of the best movies of the year 2015. A true story about reporters who unveiled the complicity of the Church not only in the United States but also worldwide with sexual abuses of priests against children.
Tom McCarthy (Game of Thrones) signs his third film with a solid and compelling story. It is the old fashioned story of reporters seeking for the truth. In the US pre-September 11, this concept still made sense. Journalism today kind of lost that old school view. This story is perhaps one of the last testimonies of investigative journalism and it had such an impact worldwide that it was made into a film. Just only for what we just said, it is worth watching it.
In a city signed by great belief on Catholic values, comes the shocking news that the same representative of these values violated them. Completely appalled by it, most decide to take a vow of silence. Others fight to give light to the truth. However there are powerful interests to try to keep these secrets in the shadows.This film explores the fight of these journalists. It is very symbolic as today people fight for social justice against financial institutions and corporations which violate people's rights. In a system signed by the predominance of these corporations, what are our weapons as citizens? What do we have left?
Led by the magnificent Michael Keaton (who did an outstanding comeback last year with Birdman ), Rachel McAdams, Mark Ruffalo and Liev Schreiber, this film stands out for its solid storytelling and great dramatic development. The outcome for these reporters is critical, not only for their professional future but also for what they stand for as people living in a supposedly-civilized society. Recommended film.
The latest Tarantino film is exactly what every Tarantino fan waits for: violence, dark humor, insane dialogues and slow-tension increase scenes. Good film but far from being one of his bests.
After the masterpiece Django Unchained, Tarantino is back! Adopting the same narrative by dividing the story into chapters, the film is unintentionally (or is it?) a two-part film. The Part I is a slow film that takes time to introduce to 8 characters with a different background but who shares the appreciation for blood and death. These 8 scum, locked in a small-wooden house raved by a snow storm outside, discover a reflection of themselves. Each seems to reaffirm their superiority by past good deeds or present ones but they all fall into the same dark and savage side of the most primitive human being.
Part II is actually the most "Tarantinean" of the two. He built a whole set and gave each character a strong label so that you could identify each of them easily. We can criticize he made this first Part too long and too slow making it almost uninteresting at one point. Where he achieve to make long and solid dialogues in Django Unchained, Tarantino fails to reproduce the same structure here. That is why the second part, bloody as Kill Bill and with a nostalgic touch of Reservoir Dogs, is the best. We actually enjoy the violence and we laugh. It is so grotesque that it cannot be taken seriously.
What else can be said? All the actors are fantastic. Absolutely fantastic. We see old collaborators such as Michael Madsen, Tim Roth and Samuel L. Jackson. We see new ones such as Jennifer Leigh and Kurt Russell. All are fantastic with a special mention to Leigh: she stands strong against a group of men and shows her powerful acting to make her being the center of the story.
Despite a slow beginning and quite boring at some points, the film achieves what any Tarantino fan asks for. It is a good film and we can see Tarantino's ability to establish long and slow character building whilst keeping an increasing tension in the atmosphere. Only great directors can do that. Good one Tarantino!
It is a downward spiral for a woman whose dream is to embrace the American Dream. It achieves to blend a melodramatic environment with a strong sarcastic tone.
Does the new film from American Hustle's director convinced us? Pretty much yes but looses its solidness as the film gets to its end. The film is about Joy, woman over-demanded by her family and a macho-system. She rebels and decides to launch her own business with a new kind of mop. Obstacles lie ahead and grotesquely accumulate over time to leave Joy on the edge of madness.
In this third collaboration between director Russell and Jennifer Lawrence, it is probably better than American Hustle. The script comes out with a fast-pace story and sometimes enervating: Joy cannot come out of her cave and a whole society (including her own family) is decided to against her dream of entrepreneurship. In the quest to reach the top of the American Dream, she cannot but only get hard hits. Of course the exasperation felt throughout the film is good for the viewers to keep up and be curious about Joy's future whereabouts. Nevertheless this is also one of the main weaknesses of the film.
It is hard for us to understand whether the film wants to set a dramatic tone or either be satirical about the American Dream. The ending of the film makes it all blurry and confusing. Too bad because if it was not for that development, the film would have been much greater. Bradley Cooper acts great as the successful businessman and Lawrence is impeccable as this "wannabe" business woman. The support of De Niro is essential to embody the satirical tone, being both a father and the voice of a conservative society based merely on consumption. The film does not stop and keeps shouting, such as an hysterical person until the end where everything goes in silence. We did not enjoy the silence, we actually enjoyed the previous madness.
An outstanding and powerful film about a person who decided to swim against the tide of its time and become the first transgender in modern history. A remarkable film.
Watching this film is an experience in itself. Eddie Redmayne once more gives the performance of a lifetime: he is much better than in The Theory of Everything. He would deserve an Oscar for sure in this film. The transformation of Geinar into Lili, this woman whom we always aspired to be, is simple so subtle and so natural. This change in the main character, accompanied with his very (very) open-minded wife, does not strike us. It is almost as we saw Lili in Geinar since the beginning of the film. But who made this outstanding change? Eddie Redmayne.
The photography is delicate and composed with great care so that the feminine traits of Redmayne shine on the screen. Beautiful colors as both main characters are painters and every shot is done with a painting. Alicia Vikander is a great actress but however her talent is shaded by the grandeur of Redmayne. We do acknowledge that her role is particularly difficult and the chemistry between the two actors is very good. The music from Max Richter is beautiful and very sensitive: a quiet and melodic piano transcribes the emotional journey of Lili to become a real woman.
These films are rare and should be seen more often. Transgenders are part of our society and as any human being has such a beautiful complexity to be explored. This true story is worth to understand the courage of a human being that decides along with her companion against social norms. Every dream is full of obstacles to reach it but necessary as we become more confident of our choices. A beautiful film.
