“California is for cocksuckers and flag-burners. Did they know you were a fag in the army?” Willis (Lance Henriksen; best known as Bishop in Alien) asks his son John (Viggo Mortensen), now living in LA with his husband Eric and their adopted daughter Monica.
Throughout its preceding five episodes, The Undoing (Sky Atlantic) has skilfully, if a little shamelessly, kept the fickle finger of suspicion in perpetual motion.
As much as we would like it to, writing can never fully recapture someone who is gone. This we learn all too effectively in A Man’s Place by Annie Ernaux, arguably one of France’s most important living authors.
Zaina Arafat’s debut details the trials and tribulations of its first generation American-Palestinian narrator, desperately seeking love, but unable to stand its stifling reciprocation. Her struggles are all tied up with her inability to admit her bisexuality to her mother, and their complicated relationship.
A top-rank cast swims against the tide in Uncle Frank, writer-director Alan Ball's well-intentioned but fatally contrived film that presumably contains more than a trace of the Oscar-winning filmmaker's own past.
The infamous border wall. Prolonged detention. Children in cages. Even as Biden's election promises a sea change in Trump's devastatingly hardline immigration policy, immigrants, both first- and second-generation, face a spectrum of prejudice, violence and categorisation in the increasingly divided "land of the free".
Love triangles rarely feel more truthful or more tender than in No Hard Feelings, a beautiful film that announces debut director Faraz Shariat as a filmmaker worth reckoning with.
“Alice had not a moment to think about stopping herself before she found herself falling down a very deep well. Either the well was very deep, or she fell very slowly, for she had plenty of time as she went down to look about her and to wonder what was going to happen next.” A cosy scene: Anne (the superb Trine Dyrholm: The Legacy; The Commune; Nico, 1988) is reading Alice in Wonderland to her twin daughters in their stylish Danish family house deep in the woods.
The bleak power of the Australian horror movie Relic, Natalie Erika James’s feature debut, derives from its masterful use of a simple metaphor.
When Mogul Mowgli was first announced, it was fair to expect something of a realist biopic. After all, you had documentary director Bassam Tariq and actor/musician extraordinaire Riz Ahmed helming a film about a British-Pakistani rapper. Even the title is partially taken from one of Ahmed’s songs (“Half Moghul Half Mowgli” by Swet Shop Boys).