Beautiful Girls (1996)

Drama directed by Ted Demme and written by Scott Rosenberg. 

It’s a sort of grown-up “Brat Pack” drama following a group of friends based in Knight’s Ridge, Massachusetts, who come back together for a school reunion. There’s an intelligence lurking in the script but it’s also slightly muddled. Some of the performances are strong, but sometimes it’s unclear what point the film is trying to make. For example, Uma Thurman’s character – a random cousin called Andera – floats in and out of the story without much logic. And the thread about Willie (Timothy Hutton) developing an odd connection with 13-year-old Marty (Natalie Portman) raises some quite awkward questions that the film doesn’t really address. 

The ensemble cast also includes Matt Dillon, Noah Emmerich, Lauren Holly, Rosie O’Donnell, Martha Plimpton, Michael Rapaport and Mira Sorvino.

It’s nearly there, but only nearly.

Back to Burgundy (2017)

Refreshingly different French drama directed by Cédric Klapisch. 

Three siblings (Pio Marmaï, Ana Girardot and François Civil) inherit a French vineyard after their father dies. They have to decide whether to sell the land or continue to work on it, making a go of the business despite their other commitments. 

It’s a fairly straightforward story, focusing on the characters and their feelings. I found it highly engrossing as the characters had real depth. And unlike other “idyllic vineyard” films such as A Good Year, it doesn’t sentimentalise a region or a way of life.

The Lovely Bones (2009)

A surprisingly moving story directed by Peter Jackson. 

In 1973, a girl named Susie Salmon (Saoirse Ronan) is murdered by a serial killer (Stanley Tucci). But rather than vanish from the story, Susie narrates what happens next from an “in-between” realm between Heaven and Earth. She explores the impact of her death on her family, who she seems able to reach and influence in subtle ways. That family is played, affectingly, by Rachel Weisz (Susie’s mother), Mark Wahlberg (her father), Susan Sarandon (her grandmother) and Rose McIver (her sister). 

It’s often an uneasy mix – and this is presumably deliberate – between the gruesome details of a serial killer at work and the almost whimsical dreamscapes that Susie now inhabits. She walks through psychedelic, oversaturated worlds that sometimes threaten to turn the film into a fantasy romp. But these sequences just about work because they can be seen to mirror the perceptions of a 14-year-old struggling to comprehend the enormity of what has happened to her. 

If you can get past the slightly jarring combination of gritty and fantastical, you can engage with some profound questions about life and death.

A History of Violence (2005)

Thriller directed by David Cronenberg. 

An “ordinary” American, Tom Stall, works in a cafe in a small town. One day, a pair of crooks come in and threaten him and his staff. With what might be pure luck or uncanny combat skills, he quickly dispenses with them and is celebrated as a hero by the town. But then some gangsters show up in the same diner and appear to know Tom. Is this just a case of mistaken identity or does he have a troubling and mysterious past?

Viggo Mortensen stars, bringing depth to a complicated part. His wife is played brilliantly by Maria Bello in a fully rounded role. Ed Harris plays the sinister criminal whose appearance changes everything. 

There’s strong suspense and – as the title implies – a fair bit of blood. Cronenberg explores the nature of identity and violence, and the impact they have on family life. 

It's a scary and compassionate drama.

Sense and Sensibility (1995)

Superb historical drama adapted by Ang Lee from Jane Austen’s classic 1811 novel.

Sisters Elinor and Marianne are played wonderfully by Emma Thompson and a young Kate Winslet. Hugh Grant, Greg Wise and Alan Rickman portray the men they fall in love with. As these relationships play out, in London and Devonshire, the story examines whether we should marry for love or for status.

It's hugely involving, with moments of wit and tenderness. Hugh Grant is incredibly charming as the shy and well-meaning Edward Ferrars. Alan Rickman, for once, doesn't seem typecast or obvious. He brings real subtlety to the role of Colonel Brandon. 

As well as the main leads, there are excellent performances by Imogen Stubbs, Gemma Jones, Hugh Laurie and Robert Hardy.

One of the greatest costumers.

Star Wars Episode V: The Empire Strikes Back (1980)

Tightly plotted and relentlessly entertaining, this was the second Star Wars film to be released (although it's placed fifth in the overall narrative sequence).

There's an excellent script full of highly quotable lines, and a lot of it is very funny, too. Harrison Ford, Carrie Fisher and Mark Hamill are all at their best.

There’s romance (Han and Leia), adventure, mystery, excitement and peril. Plus an odd recurring theme of disfigurement.

The pacing is perfect. Director Irvin Kershner keeps things moving, but never at the expense of character development.

The Lake House (2006)

Romantic drama directed by Alejandro Agresti. It's a new version of the South Korean film Il Mare (2000).

Sandra Bullock is a doctor called Kate. Keanu Reeves is an architect called Alex. The pair fall in love. The problem is that Alex lives in 2004, while Kate lives in 2006.

They communicate through letters left in the mailbox of a lake house in Chicago, somehow bridging the two-year gap but without being able to meet.

Trying to work out the various time/space concepts made my head hurt. It’s great that the film makes you think, but this tends to be at the expense of the storytelling. I wanted to focus on the relationship between the couple, and not get bogged down by the dodgy science. Other films, such as Back to the Future, deal with the conceptual stuff much more neatly so that it can be moved out of the way and not distract from the plot.

Another flaw is that – by definition – too much of the film has to show the two characters alone, talking to themselves. The best moments are those rare occasions when we actually see the pair together – or nearly together.

I really enjoyed The Lake House despite the fact that it fundamentally doesn’t work. Thankfully, Bullock is great, whatever she’s in, and she raises an average drama to something well worth watching – as long as you don't ask any questions.

Dune: Part One (2021)

Denis Villeneuve’s remake of the Frank Herbert novel previously filmed by David Lynch. It’s certainly more coherent than the Lynch version, but some of the wild imaginative magic of that film has been lost. Instead, everything looks great, and is incredibly epic, but it comes across as rather ponderous. Every word or sentence uttered seems intended to carry great gravitas, and sometimes you wish there was a little more life in the drama. That said, the spectacle is remarkable and the vast planetscapes are undeniably impressive.

Timothée Chalamet seems oddly weedy as Paul Atreides, but that’s presumably the point. He’s young and naive but carrying the potential of greatness, and he grows in stature as the film progresses. Better is Rebecca Ferguson as his mother and Oscar Isaacson as his father. Josh Brolin and Charlotte Rampling have small, but important parts, but seem somewhat underused. 

The second part will be released in 2024.

Imitation of Life (1959)

Extremely unusual drama directed by Douglas Sirk and adapted from the novel by Fannie Hurst.

Lana Turner stars, as Lana Meredith, an actor who puts her work before everything. Juanita Moore plays Annie Johnson, a woman who she takes in as her maid. John Gavin plays Steve Archer, a man Lara is drawn to. 

Laura and Juanita both have young girls and we see them brought up in very different ways. The film examines these two mother/daughter relationships. There’s also a strong theme about race, which isn’t common for this period.

It’s an engaging melodrama in which a lot happens and a lot of material is covered. Sandra Dee and Troy Donahue both feature. It’s quite interesting to see them acting having only previously known them from the song in Grease.  

It’s not clear why it’s called Imitation of Life.

Barry Lyndon (1975)

Written and directed by Stanley Kubrick, this historical drama is a masterclass in how to make a great film. Everything about it is superb. 

Consisting of the varied and rambling adventures of the title character (portrayed by Ryan O’Neal), the story details the exploits of an 18th-century Anglo-Irish loner. He has to leave home following a duel with British Army captain John Quin (Leonard Rossiter), is robbed by highwaymen and then ends up in the British army – until he deserts and sets off on a whole sequence of other adventures.

There’s a quirky tone, enhanced by the narration of Michael Hordern. The film has an unusually sophisticated deadpan wit and intelligence. It's visually stunning, too. Kubrick treats you to a sequence of brilliantly composed shots. It’s like a rare liqueur – a luxurious treat. 

A masterpiece.

Colette (2018)

Keira Knightley stars in this biopic about the novelist Colette, directed by Wash Westmoreland. 

After growing up in rural 19th-century, France, Colette meets and marries Willie (Dominic West), a Paris-based literary entrepreneur who uses ghostwriters to come up with articles in his name. When Colette reveals a talent for writing, she embarks on a series of novels that Willy takes the credit for. 

It’s an intriguing drama that evokes the time and place well. Knightley gives one of the strongest and most multifaceted performances of her career. West is also good as her thoroughly unlikeable husband. The focus on the balance of power in their relationship is expertly handled.

I wanted to find out more about what happened to Collette’s life and writing, but it’s left to the brief snippets of on-screen text at the end to fill you in.

Café Society (2016)

Engaging comedy-drama written and directed by Woody Allen. 

It’s the 1930s. Bobby Dorfman (Jesse Eisenberg) goes to Hollywood and gets a job working for his Uncle Phil (Steve Carell). He falls in love with Phil’s secretary Veronica/Vonnie (Kristen Stewart), not realising that she’s already dating someone else – a married man Bobby knows all too well…

The various plot threads play out in a satisfying manner. The film is a slow-burning romance that sensitively explores the “what ifs” of love. 

It’s a fairly low-key film. There are some funny moments, often relating to Bobby’s gangster brother Ben (Corey Stoll). It’s good at showing the contrast between the cultures of California and New York. As always, Woody Allen does an expert job with the nuts and bolts of storytelling, pacing, characterisation and dialogue. 

Kristen Stewart is absolutely spot on as the much-in-demand and conflicted Vonnie.

Lady Bird (2017)

Greta Gerwig’s sweet and compassionate drama about a teenage girl’s coming of age in Sacramento, California. 

Saoirse Ronan plays Christine, a.k.a. Lady Bird, who has a complicated relationship with her mother (Laurie Metcalf) and indeed with herself. It’s beautifully observed, with moments of comedy and pathos. I was reminded of Woody Allen at his best. 

Beanie Feldstein is especially likeable as Lady Bird’s best friend Julie. 

The mother/daughter topic somehow recalls the Susan Sarandon/Natalie Portman pair-up in Anywhere but Here (1999), although this is a more nuanced and subtle treatment of that subject matter.

15 Minutes (2001)

A fundamentally misconceived thriller that somehow stars Robert De Niro. It’s an extremely heavy-handed satire about fame and the media that fails on multiple levels. 

Two eastern European criminals arrive in New York City. (They are portrayed in a crassly simplistic, racist manner.) The pair want to be famous, and will commit murder to achieve that. Meanwhile, a detective (De Niro) and a fire investigator (Edward Burns) team up to catch them. 

There are lots of unexpected twists – not because the film is well-plotted, but because it’s a sprawling mess. Certain threads are never resolved, such as the fate of Vera Farmiga’s character. She’s meant to be the love interest, but she’s quietly sent away rather than being allowed to develop her relationship with Burns’ character. 

The biggest flaw of all is the two criminals, who are woefully one-dimensional and presumably intended to be semi-comedic (the tone of the film is especially uneven). One of them video-tapes everything they do, thereby incriminating them. Maddeningly, the film presents some of the action through their camera footage – a gimmick that very quickly wears thin. This camcorder view of the violence also seems like exactly the sort of sensationalist rubbish the film claims to be satirising. It’s way dumber than it thinks it is. 

There’s also a silly plot about a true-crime TV show presented by Kelsey Grammer (of Frasier) that feels like a different film entirely. 

It’s frustrating because De Niro, Burns and Farmiga are all on good form, and some of their scenes are highly watchable. It’s as if director John Herzfeld sub-contracted some of the work, so jarring and uneven are the various different kinds of film clumsily cobbled together for the final edit.

There's No Business Like Show Business (1954)

Brassy, and colourful musical, directed by Walter Lang and completely lacking in depth. 

The main point of interest is Marilyn Monroe, who is always engaging, and it’s telling how much the film has retrospectively been sold on her involvement. The back of the DVD box, for instance, describes it as a Monroe film, when she’s not the star of it at all. 

The main focus is on the singing family, the Donahues, played by Ethel Merman, Donald O’Connor, Dan Dailey, Johnnie Ray and Mitzi Gaynor. They’re loud and bold, in an unsubtle and unappealing way, and they lack charisma. Indeed, they struggle to hold your attention at all.

Likewise, the songs by Irving Berlin aren’t especially memorable, with the exception of the famous title song (which you have to wait right until the end to hear). 

It’s not a terrible film by any means, and it probably achieves what it sets out to, but from the vantage point of 2023 there’s very little in it that stands up.

Sabrina (1954)

Light romantic comedy directed by Billy Wilder. 

Audrey Hepburn stars in the title role. She thinks she’s in love with the wealthy Long Island next-door neighbour David (William Holden) but really she’s falling in love with his brother Linus (Humphrey Bogart). 

There are some nice moments but it’s not really funny enough to justify the slightly contorted plot. Hepburn and Bogart are both charismatic and charming, but you wish they had been given sharper, wittier lines to deliver. 

The film was remade in 1995 with Harrison Ford, Julia Ormond and Greg Kinnear.

The Razor's Edge (1946)

Strange drama directed by Edmund Goulding. It was adapted from the novel by Somerset Maugham, who is actually portrayed as a character in the story. 

Tyrone Power stars as a World War I veteran who puts his marriage on hold to deal with the trauma of military conflict. He goes travelling and “discovers himself” through spiritual enlightenment in India, with big implications for his personal life. 

Gene Tierney plays the woman who loves him and who has no time to acknowledge his PTSD. Instead, she repeatedly tells him he has to help American prosperity by earning as much money as possible. Anne Baxter gives the most interesting performance, as a bereaved woman who becomes an alcoholic. The slightly postmodern trick of having Somerset Maugham himself wandering in and out of the story adds little.