‘I had to sprint across Berlin in a pair of Dr Marten boots – and I was smoking two packs a day back then’
I was in New York shooting a couple of films when I got this script called Lola Rennt (Lola Runs). I read it and thought: “This is cool – but kind of weird, too.” I flew back to Berlin, met the writer-director Tom Tykwer, and realised the energy I had felt on the page came from him.
Continue reading...The horror director is back with a sci-fi shocker about mind-robbing assassins going on violent killing sprees. He tells our writer why digital effects just don’t cut the eyeball
Brandon Cronenberg has the sniffles. This would not be worthy of note, but for the fact that the 40-year-old Canadian film-maker, son of horror pioneer David, made his directorial debut in 2012 with Antiviral, about a clinic that harvests diseases from celebrities. For the right price, patients can be infected with Hollywood herpes, or catch the exact strain of flu that caused their favourite singer to cancel a tour. So whose cold is he wearing? “Nothing so interesting,” says Cronenberg through a bunged-up nose. “It’s just sinus trouble. Sorry, I didn’t mean to be disgusting.”
It’s a bit late for that, as anyone who has seen his films will attest. In Antiviral, restaurants serve steaks cultivated from A-list muscle tissue – while his new psychological horror, Possessor, features assassins who inhabit people’s bodies via neural implants, then use them as puppets to carry out hits. One such operative, played by Andrea Riseborough, is having difficulty negotiating the work-life balance. Although equipped with a gun, she takes it upon herself to sever her victim’s jugular instead. The stabbing felt “in character”, she says during her debriefing, to which her boss, played by Jennifer Jason Leigh, asks: “Whose character?” Decanted into another patsy, Riseborough goes wild, driving a poker into her target’s mouth and breaking his teeth like biscuits, before gouging out an eyeball for good measure.
Continue reading...Former Bond girl Tsai Chin confounds expectations brilliantly as an older woman who gets mixed up with the Chinese mafia
Sentimentalising, patronising and generally disrespecting our elders is by now enough of a movie trope that any title including the words “grandma” or “grandpa” causes an involuntary shudder. That Lucky Grandma isn’t one of those films is mostly down to its star, Tsai Chin, whose many attributes include the ability to conduct full conversations with a lit cigarette suspended from her bottom lip. One look at Grandma’s stern face tells us she did not come to play.
Related: Tsai Chin: 'What was it like being in bed with Sean Connery? Fine'
Continue reading...Montreal’s underworld is the focus for this meaty flick about a crime boss aiming to set up a money-spinning project in the old country
This unexpectedly absorbing gangster movie is based on a non-fiction book of the same name by André Cédilot and André Noël that delved into Montreal’s organised crime world. Set in the 1990s but with flashbacks to the 80s, the film revolves around Francesco “Frank” Paterno (a silky Sergio Castellitto), an affable local godfather whose great ambition is to build a bridge back in the old country between Sicily and the Italian mainland, and thoroughly skim off all the money such a massive project will produce. To bankroll it, he has all sorts of funds squirrelled away in offshore accounts, but slippery accountants are skimming off the top, and there’s major trouble brewing between his son and chosen successor Giaco (Donny Falsetti) and upcoming capo Vince Gamache (Marc-André Grondin). The son of a tailor (Gilbert Sicotte) who has served the Paterno family for years, Vince tries to raise his stature in the organisation by importing drugs from Venezuela via a most horrific method. Meanwhile, Giaco’s brother Pat (Michael Ricci) gets engaged to Vince’s savvy sister Sofie (Mylène Mackay), a steel-nerved character in her own right underneath all that blow-dried hair and huge gold hoop earrings.
Continue reading...Why so serious? Todd Phillips’ solemn but shallow supervillain origins movie has a strong performance by Joaquin Phoenix but is weighed down by realist detail and tedious material
The year’s biggest disappointment has arrived. It emerges with weirdly grownup self-importance from the tulip fever of festival awards season as an upscale spin on an established pop culture brand. Last year we had Luca Guadagnino’s solemn version of Suspiria, and now it’s Joker, from director and co-writer Todd Phillips: a new origin myth for Batman’s most famous supervillain opponent.
Joaquin Phoenix plays Arthur Fleck, a pathetic loser and loner in Gotham City, some time in the early 1980s. Arthur is a former inpatient at a psychiatric facility but is now allowed to live with his elderly mother, Penny (Frances Conroy), in her scuzzy apartment. Poor Arthur has a neurological condition that means he is liable to break into screeching laughter at inopportune moments. He has a crush on his single-mom neighbour Sophie (Zazie Beetz) and pines to be a comedian, hero-worshipping cheesy TV host Murray Franklin (Robert De Niro). But he can only get a job as a clown in grinning makeup and floppy-toed shoes twirling an advertising banner outside a store, where he is bullied and beaten up by young thugs passing by. One day, after the humiliation and despair become too much to bear, Arthur gets hold of a gun and discovers that his talent is not for comedy but violence.
Continue reading...Tarantino’s epic is the big draw at Cannes. But there are other Manson movies around – including one about what ultimately happened to the young women who fell under the murderer’s spell
Over the last half century, one villain has loomed large over Hollywood. The gruesome murders committed by Charles Manson and his followers in the summer of 1969 have filled countless films and documentaries about stardom and the debaucheries of the 1960s. But his malign influence extends far beyond the screen. Aside from murdering eight people, Manson and his disciples – the Family – have been blamed for wiping out the counterculture, free love, communes and hippies.
Three new films are making fresh attempts to reckon with “the symbol of animalism and evil”, as Rolling Stone magazine called him. The biggest is Quentin Tarantino’s Once Upon a Time in Hollywood, about to premiere at the Cannes film festival. Set in Los Angeles during the Manson era, the film stars Leonardo DiCaprio as a fading TV western star and Brad Pitt as his stunt double, both attempting to make the leap to the big screen. Margot Robbie plays Sharon Tate – the actor and wife of director Roman Polanski – who was brutally murdered by the Family. Manson, a background figure in the film, is played by Damon Herriman.
Continue reading...Christian Bale plays Dick Cheney, Nicole Kidman goes undercover, Olivia Colman is Queen Anne and Timothée Chalamet gets addicted to meth
Dir: Yorgos Lanthimos
Olivia Colman excels as an emotionally wounded Queen Anne in a bizarre black comedy of the English Restoration court, directed by the Greek auteur Yorgos Lanthimos. It is based on the true story of two noblewomen creating a horribly dysfunctional love triangle by competing for the queen’s favours: Sarah, Duchess of Marlborough, and Abigail, Baroness Basham – played by Rachel Weisz and Emma Stone.
UK release date: 1 January