list.co.uk/film REVIEWS | FILM
BIOPIC – COMEDY DRAMA GREEN BOOK (12A) 130min ●●●●● BIOPIC – DRAMA BOY ERASED (15) 115min ●●●●●
BIOPIC – WAR A PRIVATE WAR (15) 110min ●●●●●
Based on the true story of the unlikely friendship between African-American virtuoso pianist Don Shirley and his homespun Italian-American driver Tony ‘Lip’, Green Book features two outstanding performances from Mahershala Ali and Viggo Mortensen. There is, however, no escaping the fact that this is another film about bigotry and prejudice told through the experiences of a white man. We watch as, chauffeuring Don on a musical tour of America’s Deep South in 1962, Tony slowly awakens to the personal cost of the racism they encounter wherever they go. Throughout the abuse, Don remains poised,
making his character something of a cipher; it’s Tony who gets angry, Tony who demands change. The production values are undeniably exquisite and, while the narrative beats are obvious, it’s easy to get swept up in the good-natured worthiness of it all. And yet, good-natured worthiness is not the bullseye at which Peter Farrelly’s film should be aiming. It is certainly a heartfelt, possibly an accurate portrayal of a wonderful, life-affirming friendship. It absolutely suggests that we are all capable of change. But, as social commentary, it’s far too gentle, broad and acquiescing to be effective. (Nikki Baughan) ■ General release from Fri 1 Feb.
Actor Joel Edgerton follows his directorial debut The Gift with an austere adaptation of Garrard Conley’s 2016 memoir. Set in Fundamentalist Arkansas, Lucas Hedges plays Jared Eamons, the teenage son of a Baptist preacher who is struggling with his sexuality in a state where to be gay is not only to sin but to heap shame on those around you. His anxious parents (played by Russell Crowe and Nicole Kidman) turn to gay conversion therapy in an attempt to cast out the ‘demons’ of same-sex attraction. Quivering strings and fractious keys relay the tumult beneath Jared’s calm exterior and the air of authenticity is bolstered by Hedges’ unflashy, credibly conflicted turn; similarly, as a director, Edgerton rarely goes for the emotional jugular. It’s distinguished from the likeminded The Miseducation of Cameron Post by reserving some of its focus for Jared’s parents; and yet, especially given the significant casting coups, they can feel frustratingly peripheral. Well-crafted if a tad under-illuminating, Boy Erased is a simmering study of a disturbing practice. It acts as an impassioned wake-up call to an America which seems to be turning the clock back to a more conservative, intolerant time. (Emma Simmonds) ■ General release from Fri 8 Feb.
Focusing on the courageous war correspondent Marie Colvin – who risked and lost her life bringing atrocious, heart-breaking stories to the world – and based on a Vanity Fair article, Matthew Heineman’s film is a no-holds-barred portrait reminding us of the human cost of war. Beginning in 2001, the film is structured around several assignments, with visceral scenes from war zones cut with Colvin’s returns to London, as she suffers from alcoholism and PTSD. Pike is extremely well cast. There’s an inherently frosty aspect to the actress’s demeanour that feeds into her best performances and here it allows her to present the chain-smoking Colvin’s determination and resourcefulness, alongside an arrogance that makes her both difficult employee and dogged reporter.
Heineman and editor Nick Fenton weave a
compelling story structure. The action sequences are frighteningly realistic. The men in Colvin’s life and the actors playing them are foils: Jamie Dornan the loyal, protective photographer; Tom Hollander the foreign editor who admires but also despairs at his diva-like ace; Stanley Tucci the lover who offers a normal life. But it’s Pike’s show, and she’s mesmerising, discomforting and inspiring. (Demetrios Matheou) ■ General release from Fri 15 Feb.
ROMANTIC DRAMA IF BEALE STREET COULD TALK (15) 119min ●●●●●
Writer-director Barry Jenkins follows his Best Picture Oscar winner Moonlight with a gorgeously crafted heartbreak of a love story. His screen version of James Baldwin’s 1974 novel confirms his reputation as a hopeless romantic and exceptional filmmaker. ‘Tish’ (KiKi Layne) and ‘Fonny’ (Stephan James) are one of the
most entrancing couples we’ve seen in a long time. Friends since childhood, they grow to adulthood and the realisation that they are soulmates. Jenkins captures the joy and promise of their love in searching close-ups, tender regards and kisses to build a dream on. This is America, however, and neither Jenkins nor Baldwin are willing to trade in false comfort. When Fonny is arrested on a trumped-up rape charge, their future crumbles. The injustice of his position burns as he attempts to challenge the forces of history and a racist nation that has taken against him. If Beale Street Could Talk looks fabulous with deep, burnished
colours and a bright retro wardrobe that jumps off the screen and makes you want to rush out and buy it. The soundtrack is seductive, the performances terrific and the tears you shed are fully deserved. Jenkins secures some excellent performances from his
ensemble, not least Golden Globe winner Regina King as Tish’s formidable mother. Layne and James are beautiful and beguiling, making us fall in love with them as they fall for each other and ensuring we feel every step of tragedy in their great romance. The weary irony of the conclusion may lack subtlety for some,
while the sense of pace fades a little in the second half, but these are minor flaws. This is a great big lyrical swoon of a film with a rueful anger concealed beneath its soft, tender heart. (Allan Hunter) ■ General release from Fri 8 Feb.
1 Feb–31 Mar 2019 THE LIST 65