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.
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'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 Shakespeare's classic re-adapted into the big screen with a poetry that hasn't been seen since Baz Luhrman's Romeo + Juliet. A film worth watching.
It has been very difficult for directors to make a Shakespeare's film with a fresher view. Two films in the 2000s decade are a proof of it: Hamlet (2000) and 'O' (2001). Both films were superficial and soulless, setting up Shakespeare in modern times. Director Justin Kurzel understood that he needed to go back to the roots. Shakespeare's prose is there but also the medieval context. Nevertheless Kurzel had something else in mind: the cinematography coupled with Shakespeare's prose to enhance an incredibly intense film.
Fassbender and Cotillard are brilliant in this film, no doubt about it. We do think though that the performances from these actors are being given more intensity thanks to the cinematography. It is literally visual poetry and perhaps among the best photography we have seen in years. It is brilliant and the disturbing story of this greedy couple in search of more power embraces this dark and very well-cared photography.
Saturated colors take the lead and they all have a role to play. The illustration of the different themes that surround Macbeth are seen with red, white, grey, dark and scarlet. They become characters themselves as the characters interact continuously with them. The score is brilliant and accompanies perfectly this very disturbing story. We feel uneasy and Fassbender knows it when he talks. He is a man with one great fear: to loose power.
This is a good film, perhaps the link between Cotillard and Fassbender's characters could have been developed more. The play puts these two characters at the center but does not achieve to illustrate the complexity of their relationship. They become poisonous to each other which slowly dehumanizes them. A shame they didn't go further more in that direction. Besides that, thank you Justin Kurzel.
A dark story about an anti-hero who had it all but slowly started to fall into a spinal of anger and sorrow. An outstanding acting by Gyllenhaal.
We started to get use to Antoine Fuqua's cheap and cliché stories (Shooter, Olympus has fallen). However since he collaborated again with Denzel Washington in The Equalizer, a fresh air of inspiration caressed him. It was a long-time he wasn't doing a good film. If The Equalizer was still a decent film, Southpaw is definitely an upgrade in...everything! The script is interesting but focuses mostly on this boxer's personal struggles. It explores how much hate and anger can cause self-destruction and decadence. Gyllenhaal is simply impeccable in portraying this man trying to get back on his feet after losing her wide and the custody of her child.
This film isn't only the comeback of Fuqua but also Forest Whitaker's. He has been known for choosing carefully his film but has failed in that task for a while. Taking the role as the mentor of Gyllenhaal, he embodies a man who has been through dark times and has learned how to cope with the anger. A society who puts so much pressure on individuals to be someone famous, to be meaningful, to be ''utilitarian'' to the world. Those who are left aside, they are condemned to a life of loneliness and sorrow. Whitaker's character represents all that with perfection. Bravo.
Gyllenhaal already deserved an Oscar with Nightcrawler. It is due with this one now. The pace is good and the cinematography is raw and dirty. It illustrates how raw and primitive anger can be. Keeping you far away from hope, into the darkness.
This is an old short-film advertisement for BMW. It stars Madonna and Clive Owen as the driver of the new BMW car. Guy Ritchie, Madonna's husband at the time, directed this outstanding action film. Red Curtain Cinema found it again on the Internet and decided to share it with you! Go for it, just click on it!
One of the greatest experiences we ever had. You enter into the world of Star Wars and you have to undertake very important missions! While you wait for your ship to take you to the world of "Star Wars Episode V", you are going to walk in the city of Tatooine and in the Death Star. You will encounter Darth Vador, Luke Skywalker, Han Solo, Chewbacca...and many others!
These are the last days for #SecretCinema #StarWars so we HEAVILY recommend: GET your tickets straight away Londoners! It is the worth the price, it is worth the adventure! Go for it, it is simply stunning.
We all have memorable scenes from a film in our minds. Which are yours? Red Curtain Cinema will share a few but we are very keen on discovering yours! Don't be shy cinema lovers!
This is our first memorable scene from "Road to Perdition" (Spoiler alert). Incredibly well-shot accompanied by the great musical skills from Thomas Newman and with the presence of two colossal actors: Paul Newman and Tom Hanks. Enjoy!
For sure, the coolest scene that Justin Timberlake has ever done! From the insane film Southland Tales, this scene is definitely worth the watch! Especially if you love the band The Killers.
How many times have we seen a film thinking: "the music was much better than the movie itself." Did it never happen to you? Well if it's not the case, I want to bring your attention to this great piece signed by Craig Armstrong (Love Actually, Romeo and Juliet).
This score, from a terrible terrible movie, is just incredible. Listen to it, trust Red Curtain Cinema!
A fantastic film about the Rwandan genocide. There are a few films (Hotel Rwanda, Shake hands with the devil) about this terrible period. It is perhaps one of the greatest failures of international organisations such as The United Nations. These films are a testimony of something that should not happen again, however they still do. These tragic stories are being lost in the air but some people (activists, film directors, independent studios) decide to pick them up and tell them to a wide audience. This film is fabulous no matter how heartbreaking it can be. Sadly, it didn't have a wide release but it is still a very valuable story. Red Curtain Cinema recommends it.
