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I must admit I do not go to the cinema that much but I do get a lot of DVDs of new films which very often have limited (if any) cinema releases. Plus given the way film distribution is going with Apple, Netflix etc. I suspect old style cinema going habits will change. I therefore hope my posting on these "new releases" will not be regarded as diverting the intent of this thread.This film is a recent Romanian film with a UK release that won a prize at the 2013 Berlin Film Festival. I would recommend it for many things but the key one is a stunning performance by Luminita Gheorghiu as a late middle aged mother (who looks like a bit like Yootha Joyce, for those old enough to remember her). At the start she is seen as a successful nouveau riche architect in post communist Romania complaining to a friend about her only son's lack of love for what she wants him to do. Her dominating persona quickly shifts into action when the son is involved in a car accident and the rest of the film is about how she proceeds to tackle trying to keep her son out of jail and fight her own demons and fears.The type of role that many older actresses would kill for (she is on screen for nearly the whole movie) it has few peers recently ("Philomena" is the only one I could think of ). I would strongly recommend trying to pick up on the DVD if not shown at a local art cinema. Also it made me want to try and pick up on more recent Romanian film releases, many of which have a very strong feminine storyline it seems.

Joe Conneely ● 4621d

This film had a limited cinema release in late 2013; was recently voted the Sight & Sound critics No. 1 choice for film of 2013 (the first ever documentary to achieve this) plus just been released as a two disc DVD.The film took eight years to make and is about the gangsters used by the new Suharto government that took over from Sukarno and his communist leaning government in the mid '60s (the second disc in the DVD set has much more info on this than the actual film). The subsequent open taking and murdering without trial of alleged communists (based on names supplied by USA and UK political advisers plus the Indonesian military it is inferred) led to murders of millions of communist and non-communists, notably the more wealthy Chinese populace. It will bring to mind what happened in Cambodia under Pol Pot and other recent widely reported genocides.The twist here is that given how long Suharto was in power (till 1998) such criminals have not been subsequently pursued and jailed under a change of government. Instead they have been institutionalised as the saviours of Indonesia and allowed to form a national para military force that to this day acts as a legalised criminal organisation that attracts new followers with government and military consent. The reason this film has attracted so much critical comment is that instead of doing a normal style documentary history which would have been near impossible, the Danish director given the sensitivity of this period still in Indonesia instead convinced the still living gangsters to re-enact scenes from this period in their choice of a series of Hollywood pastiches. These include Godfather style gangsters; musical at a waterfall with chorus; and cheap horror movies! For many reviewers the film is seen to represent a new style of documentary film making - for me I am afraid it seemed to end up more as spectacle than providing any decent analysis. But the abiding impression of the arrogance of impunity conveyed by the participants as they playfully re-enact horrific events that saw open murder of many innocent people remains with you long after the film is finished.

Joe Conneely ● 4621d

This story of Dicken's infatuation with eighteen-year-old Ellen Tiernan is unexpectedly leaden with the dialogue, in particular, lacking sparkle. The affair has been known about for some time but this version paints Ellen's mother as pimping her to this middle-aged celeb, which is disconcerting. The film is also unbalanced, with the build-up to the affair interminable; Ellen's later life, in a framing device, is also amply covered, while the affair itself is a case of 'blink and you missed it'.Not that there isn't much to enjoy. Joanna Scanlon shines as Catherine Dickens, the obese, neglected wife and mother of his umpteen children, and even bravely allows herself to be glimpsed naked. On one occasion Dickens orders a piece of jewellery for Ellen, only to have the jeweller deliver it to his wife. He makes his wife take it round to Ellen's house, which she does with immense grace, and which puts an end to any possible sympathy one might be tempted to feel for the man. And then there's the spectacularly ill-judged letter that Dickens sends to the Times castigating people for gossiping about his private affairs before announcing his separation from his wife, who learns about this from the paper. Classy!As the film plods along, the men are concealed under acres of facial hair with the lovely Tom Hollander identifiable only by his voice.The reviews were glowing and I was disappointed. Judging by the mutterings as the credits came up, I don't think I was the only one.

Susan Kelly ● 4588d

If you enjoyed John Michael McDonagh's first film, The Guard, don't go expecting the same exuberant black humour from his second offering. It is often funny, but it will send you home melancholy.This time, Brendan Gleeson, previously a sweary policeman and a hitman in McDonagh films, is a truly saintly priest, Father James, come late to his vocation after being widowed and with a fragile daughter (Kelly Reilly: one of my favourite actors who has never had the success she deserves) who has recently attempted suicide, probably not for the first time. As the film opens, he is told that he will pay the ultimate price for the sins of his fellow priests.There's a truly spine-chilling scene in which Father James is happily chatting to a little girl who has come to coastal Sligo on holiday, only to have her father roar up in his car and drag her away, glaring at the priest as if he would gladly kill him. For why would a Catholic priest chat to an innocent child other than with disgusting sexual intent?McDonagh is telling us that Ireland will not soon recover from the evil priests who have blighted its recent past. The title suggests that Father James is a Christ figure, sacrificed without sin to redeem mankind.It is not wholly successful artistically. The cast is simultaneously too big and too small. How can such a tiny community sustain two priests (and I could have done without the eejit assistant priest who serves no obvious purpose); at the same time, we don't get to know the villagers well enough to be sure who the would-be killer is.The ending is shocking and we were talking about the film long after.

Susan Kelly ● 4530d

I am an unashamed Sondheim groupie but yesterday may have been a tad excessive: Into The Woods preview at 1400; Assassins at the Meunier Theatre at 2000 - with dinner sitting next to Maureen Lipman - another Sondheim/Meunier afficionado - in between.So, neither are his best work - Sweeney Todd takes that easily for me - but Into the Woods is an interesting melding of fairy stories and the emotions and experiences they reveal: there's Repunzel and her Prince, Cinderella and hers, Jack and his beanstalk, red riding hood and her wolf and the bakers who are desperate for a child. In fact the latter couple are the stars and they are brilliantly played by James Cordon and Emily Blunt. Both of whom can sing enough. The witch is Meryl Streep - who can also sing but somehow feels less malevolent than she was in The Devil Wears Prada. And Jonny Depp is the Wolf in what is a tiny cameo with one fab song. But there isn't really anything els he could have done.The rather random distribution of accents is a trial: mostly English actors; a couple of adaptable American stars but Little Red Riding Hood failed in the voice coaching department.There are some great songs - and it is pretty much scored throughout - Into the Woods, Children are , I wish and the Wolf's song, being my favourites. But not THAT catchy.Costumes etc fab, the Disney stuff maybe less so.See if you spot Frances de la tour in her smallest (or biggest) part for years and Simon Russell Beale who diesnt even get to sing - and he really can.It's not as good as the movie Sweeney Todd - but then the piece isnt as strong.But it's not an abomination either - which is high praise from a Sondheimite of a Disney rendition.

Sara Nathan ● 4299d