list.co.uk/film REVIEWS | FILM
DRAMA THE LAST TREE (15) 99min ●●●●●
THRILLER HOTEL MUMBAI (15) 123min ●●●●● COMEDY HORROR READY OR NOT (18) 95min ●●●●●
Three years after he explored the impact of gentrification and cultural erosion on London’s black communities in his multimedia debut A Moving Image, writer-director Shola Amoo returns with the semi-autobiographical The Last Tree. It's driven by a commanding central performance from Sam Adewunmi as Femi, a British boy of Nigerian descent who, after enjoying an idyllic rural childhood with foster mother Mary (Denise Black), finds himself thrust into the tower blocks of London after his mother Yinka (a moving performance from Gbemisola Ikumelo) returns to claim him. Adewunmi is outstanding; fuelled by rage,
confusion and fear, his proud demeanour barely conceals the fact that he’s almost entirely overwhelmed by his feelings. He’s also struggling to understand his heritage – his mother’s traditions are alien to him – and to live up to preconceived ideas of who and what he should be. While a final reel trip to Lagos is rather rushed, and a subplot involving a compassionate teacher somewhat cliched, Amoo presents a far more sensitive representation of the black British experience than is often seen on screen, challenging his audience to confront their own prejudices along the way. (Nikki Baughan) ■ Selected release from Fri 27 Sep.
As fresh atrocities wash images of previous horrors from the news cycle, Hotel Mumbai stokes memories of one particular mass shooting. Debut helmer Anthony Maras dramatises the 2008 Taj Mahal Palace Hotel attack. Gunmen make their way into the Mumbai hotel,
firing indiscriminately as they walk through the lobby. A waiter, Arjun (Dev Patel), manages to protect some of the guests, who end up trapped in one of the lounges. Also among those fighting to escape are ex- Russian special forces operative Vasili (Jason Isaacs), whose path crosses with an American, David (Armie Hammer), trying to protect his wife and child. Hotel Mumbai is a brutal film to watch. Although
many of the tropes seem familiar from countless Hollywood movies, the storyline develops more interestingly, with its unusual insistence on depicting the minutiae of a human catastrophe. Moreover, Maras makes and fulfils a basic promise; without context or explanation, he depicts agonising events and pays tribute to the dead. Best considered in the style of Elephant or United 93, Hotel Mumbai does an effective job of forcing the audience to imagine what it feels like to be on the end of the barrel of a gun. (Eddie Harrison) ■ General release and on Sky Cinema from Fri 27 Sep.
While many eyes will doubtless be on the Downton Abbey movie this September, it’s not the only country pile that forms the backdrop of a new film. In high-spirited comedy horror Ready or Not, family newcomer Grace (Samara Weaving) must fight for her survival in just about every room of an imposing manor.
The eccentric Le Domas family live by one tradition: every time someone marries into their midst, on their wedding night, they must select a card and play a game. Grace draws the short straw: a deadly take on hide-and-seek that lasts until dawn. Suddenly, everyone is after her blood – including her mother and father in law (Andie MacDowell and Henry Czerny) and assorted nutjob relatives. Not even the bickering Crawley clan behaves this badly.
The Australian-born Weaving is rock-solid as the initially bewildered bride who takes on the deranged brood at their own game, while co-directors Matt Bettinelli-Olpin and Tyler Gillett (Devil’s Due) strike a neat balance between action, blood-gushing gore and Trading Places-style wealth satire. It’s not perfect – whether it’s the over-the-top CGI of the finale or the lack of characterisation. But, for a late-night trip to the movies, it’s ideal. (James Mottram) ■ General release from Fri 27 Sep.
COMEDY DRAMA THE FAREWELL (PG) 100min ●●●●●
The family comedy gets a poignant new twist in writer-director Lulu Wang’s deeply personal tale of grief and culture clashes, inspired by her grandmother’s diagnosis of stage IV lung cancer. Wang’s family took the decision to hide the illness from the patient, instead gathering together under the guise of a wedding to say goodbye. Apparently a common practice in China, this elaborate lie did
not sit right with Wang, and the film explores her moral dilemma by presenting different sides of the argument through jovial and emotional exchanges, all served up over mouth-watering meals and grand family reunions. Operating on multiple levels, The Farewell really resonates when it comes to the overwhelming experience of returning to the motherland, with lingering shots of changing neighbourhoods and childhood memories floating to the surface. Rapper-turned-actress Awkwafina turns in a hugely affecting
dramatic performance, after memorable comedic turns in Crazy Rich Asians and Ocean’s Eight. She rolls with the punches as Billi, who adores her Nai Nai (an effervescent Shuzhen Zhao). Whether they are talking on the phone or bonding over tai chi, their heartening interactions ring true, even if they do shield one another from uncomfortable secrets by telling little white lies. The ensemble all do excellent work as fragile family members
acting out, not knowing how to manage their inner turmoil. It’s all intuitively handled by Wang, who nails the chaos and unspoken intimacy of relatives bonding over shared sorrow. The affection and complexity of this familial unit colours every candid exchange, coping mechanism, karaoke number and drunken speech, resulting in a bittersweet portrait of undying love. (Katherine McLaughlin) ■ General release from Fri 20 Sep.
1 Sep–31 Oct 2019 THE LIST 63