Writer Belinda Bauer and director Philippa Cousins have turned out a stylish looking Welsh movie that doesn't know if it wants to be a sick black comedy or a semi-serious psycho based murder drama. It clearly wants to be an Alfred Hitchcock copycat film that's too obvious for any success in either genre.

Those with a yen for bizarre and nasty characters or gross situations will find this somehow agreeable but it flounders in typical, modern BFI style and ends up sinking itself in tastelessness.

Best attributes come via the good looking cinematography by Welsh born Richard Greatrex and an OK cast. Otherwise it's another cold and soulless modern wannabe failed 'classic'.

I delayed seeing this movie for many years because I feared sitting through another of those Hollywood classroom genre clichés. But having reached a stage where I was braced for giving it a chance regardless, it turned out to be better than expected. Yes, the clichés are there. What else can anyone expect from a film about the education of groups of downtrodden mixed races? But, the difference is all in the unfolding of a character building exercise, by above average writing (Unbroken '14) and direction from Richard LaGravenese.

This fact-based story of an ideological first time teacher (Erin Gruwell) wanting to make a difference in teenager's lives, is worthy of the time to watch and consider. Hillary Swank gives a sincere and well balanced rendering as Erin Gruwell and the cast supporting her do likewise. Those not prepared to accept the reality of clichés in aspects of everyday life are fooling themselves, so don't pay too much attention to their rants. Everyone who cares can make inspirational differences in the lives of others (especially the underprivileged) and those who try are to be applauded.

This film is up there with "Stand and Deliver" for its genuine subject commitment. Also, introducing the real Erin Gruwell and the end is always a plus in these kinds of films.

This film has actually come full circle, being especially relevant today in light of the ignorance on full display - regarding the propaganda machine (Nazi style) that many deceived people have allowed themselves to be influenced by all over again! Humanity is so easily (and tragically) led. Overcome blind 'racial' division, and half the world's problems disappear (and that virtually applies the world over)

With its odd title and the fact this was a Disney film of the present age, about women of a past age, made me feel edgy that it might fail at its job. I was wrong. This is superior modern moviemaking thanks to professional direction by Joachim Roning (Kon-Tiki '12), a thoughtful screenplay (Jeff Nathanson) and a cast of very well chosen players all working hard to bring this time proven story to vivid life.

Added to these pluses are powerful images from cinematographer Oscar Faura -making us feel we are in the water with her. A noteworthy, powerful score by Award winner Amelia Warner, adds to our personal involvement. There's much to enjoy in this inspirational historical sports achievement drama, based on the life of Chanel Swimming sensation Gertrude Ederle, the first woman to swim the English Channel in 1926. Some liberties are taken (rather unnecessarily) but enough of the truth remains to make this a well worthwhile cinematic experience.

Disney might have been wiser to give this wider Cinema exposure, which may have been their loss.

This is one of those films that creep up on you after an opening that leaves you wondering just where it could possibly be heading. For a debut writing/direction collaboration by friends, Stanley Tucci and Campbell Scott (Son of George C.) - they certainly create an impression as a talented duo.

On a low budget, they manage to bring in a sterling achievement, with a diverse cast featuring a surprising array of interesting personalities - who must have taken pay cuts for the sake of getting this rather off-beat project onto the screen. I'd dare say the fabulous food they consumed during production would have contributed a degree of interest also.

The theme of two Italian brothers making it big in the 'new land' is handled with humour, laced with a degree of drama as their restaurant business racks up unsurmountable debts. Ken Kelsch's cinematography never gets overly glossy, keeping the duo's angst and frustration foremost in proceedings. Do they stay or give up?

Food here is not only a business but a star that brings people from various backgrounds together in common delight. Nice work with a marvelous end-credit song. Oh and yes, they are Italian so they tend to swear a bit.

I approached this independent production with major doubts that this powerful story could be told as successfully as would be needed. Within the first 10mins, I was marvelling at the look and feel of the high production values - which just kept getting better as the story moved into its more dramatic historical facts. Not many factual faith based stories offer such stylish art direction (Medeea Enciu) and cinematography, full credit to Mark Chamberlin and Silviu Stavila, working superbly with above-average writer/director John Grooters.

Set in war-ravaged Europe, it recounts the grueling journey of two Romanian Jews who became Christians, Sabina, and Richard Wurmbrand - as they take on the invading Nazis by hiding and transporting persecuted families--without concerns for their own safety. What some people achieved during these hideous years challenges us all to wonder if we could have endured the threats, persecution, and pain throughout these long, dark, war years. Their strength shines as a beacon to us all.

Taking us through their superficial early lives, during the decadent pre-war era, to their remarkable later achievements, this picture keeps you spellbound to the finale. Some may have already read books authored by these strong people, if not; this movie re-telling may encourage you. Not to be missed by lovers of quality cinema.

This is quite a brave production for its year of release. It features some convincing dialogue within its unusual situations, and offers sensitive direction, excellent cinematography, and superb performances from its interesting cast. The events it examines are highly emotional and might not suit some people, but the professionalism of the cast and the mature approach to Israeli born Micky Levy's dialogue carry it through some shaky plot devices.

Alison Eastwood shows a gentler approach to direction than her rather boisterous father, bringing in a professional outcome - especially getting a fully convincing performance from young Miles Heizer. Even with some odd logic within certain events portrayed, it's a very human picture.

Bob Roberts - An Exercise In Excesses What more might be expected from a movie made by a Democratic Hollywood extremist? Other than an overblown mess such as this - all aided and abetted by his equally politically loopy actress wife. If you are so blind that you can't (or won't) see beyond the corruption and manipulation of the political left, then you will love this self-adulation, and ego-inflating propaganda piece. If you look for balance in your entertainment then I'm sorry, you won't find any here.

The overall structure is rather sloppy and overly busy, but this is camouflaged by the suggestion that it's all supposed to be a film about a documentary being made (a cleaver way of excusing inexperienced moviemaking). Anything that's as one sided as this will sure please the followers - who will pat each other on the back, but fail to grow outside of their one-eyed viewpoints. Those who want to see America fail and plot its demise, will see this as good fuel for the fire but will also fall with the inevitable collapse, that will take all to the negative sludge pit.

The Tim and Brother David Robins penned songs are corny, and don't do any justice to the Bob Dylan originals they are supposed to be 'inspired' by. Many will be happy to watch, but just as many will be lurching for the door.

Shooting on location, in the devastated ruins of an actual bombed-out city, makes this production as visually intriguing as any drama could possibly wish to achieve (as also effectively used in 'The Third Man'). Here we see the ultimate devastation that war brings to a nation that won't stop forcing its will on the world (as also seen with Japan).

Well regarded writers, Harold Medford and Curt Siodmak have created a non-stop rollercoaster ride filled with an international mix of assorted characters - all traveling on a US military train from post-war Paris to Frankfurt. They become embroiled in a plot to stop a German post-war diplomatic peacemaker from reaching his destination. This scenario is about as hard to fathom as a jigsaw puzzle and needs to be followed closely to keep up with the continual build-up of foreign intrigue.

Stark use of war ravaged locations where people have hidden themselves is fully effective in creating a menacing atmosphere for this convoluted story of violence and espionage.

A cast of excellent international performers bring the involved story graphically to life - headed by the always reliable Robert Ryan (pleasingly likable for a change) he's well cast alongside Merle Oberon as the peacemaker's secretary, also effective is the casting of the much re-invented former cowboy star Kevin Keene, here named Richard Powers (Crossfire'47) playing the military Lieutenant leading the investigation and hunt for the murderous underground regime. The uncredited narration by Paul Stewart, adds an overall effective documentary feel.

Highly respected French born, American based director Jacques Tourneur works perfectly with creative (part native Cherokee) director of photography Lucien Ballard - making this a stylized and excitingly paced post-war drama. Some have noted a leaning towards an American anti-Nazi propaganda theme but what might they expect...here it is, just three years following the defeat of one of the most destructive regimes in modern world history, with justice still being metered out for hideous crimes against humanity remaining fresh in the world's soul. The final scene is also quite haunting.

At 1hr 29min this one doesn't outstay its welcome, so it may take a second visit to piece together all the complex situations and fast-moving developments, but it's worth the time, and a re-mastered DVD is available to complete the ride in atmospheric b/w.

It's good to see this film now getting the attention it has always deserved. For those who understand filmmaking as an art and appreciate the care some would take to create early mini-masterpieces, this is a must-see.

As it was made by a smaller production company (Eagle Lion) that specialized in high-quality entertainment produced on lower budgets, the stars, while fully competent, were not of the well known calibre of the major studios - still, with the creativity and passion of talented film makers they produced several critically acclaimed minor classics. But those weaned on glossy consumer movies may not completely appreciate the full professional impact they achieved. Great visuals, direction, and performances combine to make this one 'special' of its genre.

While not as well known as he should be, Richard Basehart's chilling portrayal of an unknown 'strangely mannered' con-man/come ruthless killer is as professional as it gets. He is supported by a cast of professional performers of the day --who bring to life a group of pioneering CSI investigators-- giving this the style of a factual police files examination (based on a real-life crime). Character actor Whit Bissell truly exudes nervous fear when dealing with this eerie con man.

All the intensity and planed attempts to identify and capture this 'phantom' criminal are strikingly captured by director Alfred L. Werker (Lost Boundaries '49), working with first-class director of photography John Alton (Elmer Gantry '60) and beautifully utilizing classic moody noir lighting.

The chase through the sewer makes for compelling filmmaking (and may even have inspired Carol Read a year later for "The Third Man"...?) This comes highly recommended for serious movie connoisseurs.

For a film that is more in line with a stage play 'Jessica' manages to keep the action reasonably fast. Having said that, as its rather claustrophobic setting and premise gets deeper into its darker territory it can be felt to drag somewhat - think 'Who's Afraid of Virginia Wolf'. While Virginia had the good sense to keep its heavy dialogue in a measured place 'Jessica' goes all out to be trendy and only wants to appeal to the modern cocktail generation, those who feel it's 'smart' to change the meaning of words in an effort to appear hip. Those who have tailored themselves to fit into these circles won't even notice the wall-to-wall swear fest.

Production values are polished enough, and performances are convincing, but the endless efforts to outswear each other may just leave some of the audience wanting to part with their company. Overall it's a revisitation of several Hitchcock themes involving what to do with the body of a guest who 'departs' during a dinner party involving a small group of old friends. Now sit back and watch the uncomfortable truths that leach out of each other's (secret) toxic personas and pasts.

Strictly for those that can take this type of approach.

Not enough words could adequately describe the misery inflicted on sane viewers by this over-everything work. Some years back, this movie would have killed the careers of all associated with it (and rightly so) - but with today's low-grade expectations, we will sadly see them all again. Apart from some slick technical achievements nothing could redeem this low life trash-fest. Of course, certain 'critics' seem to think it's trendy to go with the 'Awards' set, but then look at the low ticket sales for genuine public opinion; It's a Bomb.

If early movie making and lifestyles went halfway like this, very little would have been made, and more people would have ended in early graves than actually did. Writer/director Damian Chazelle (La La Land) is another classic example of the overindulgence and stupidity of this modern day industry. Because one of his earlier movies was a hit, the studio honchos and foolish producers gave him a blank cheque --thinking he can't go wrong-- but he does, in a very $BIG way. Here, he totally goes overboard with everything, proving himself incapable of creating a worthwhile project, and dragging everyone else down the sewer with him.

From the moment the Elephant defecates all over the truck driver within the first 5 mins you know it's heading to being a stinker. For a film made on an outlandish Super Budget, there are so many bad technical moments that actually make this picture worse than those it sets out to lampoon. Just one example is the main star that runs out of a door with blood covering 98% of his face but comes out the other side with a clean face! Not even a 'B' pic would allow that to remain in the final cut.

This is crammed with so many ludicrous, drug-fuelled grotty orgies that the editors have difficulties matching scenes with any continuity; the end result is just a headache inducing, nauseating left-over dogs dinner. There are just too many other flaws to list.

Big money, big stars and a poor script, do not a good movie make, and filling it with nonstop sickening low-life perversity of every persuasion kills it even further. It's played too straight to be successful satire and too repugnant for mainstream, 99% of characters are unlikeable, and it goes on interminably. This moviemaker has foolishly fallen into the same trap he's supposedly exposing.

For sensationalist or undiscerning audiences only.

My Wife's a painter and this was advertised as a Comedy/Drama based on a real-life PBS painter, shot in gorgeous locations and was the only PG movie on Foxtel so we went for it. Big mistake. It's supposed to be set around the 70's and 80's but folk are talking about Cell phones and Uber's, what?

The 'Painter' of the title has a 'seduction' wagon for his fan club conquests, and his past girlfriend of 22 years decides that she might try a dalliance with a lesbian! - so now we are ticking boxes; with a mixed race, sexually confused 'woman'. Poor taste abounds as a hook for the younger audiences who know no better, and some 'humour' that struggles to raise more than a few smiles.

Here's a complete waste of good cinematography, locations, and some wall to wall pop songs from the era (whatever 'that' era is supposed to be?) that strains its way to a listless ending, leaving the feeling it might have been better going straight to streaming then quickly forgotten.

Oh, and PG, really?

Here it is, yet another opportunity for Nick Cage to overact and chew the scenery. He can now walk through these roles blindfolded as it only requires the standard set of over-the-top expressions and groan inducing explicatives. Those who like this sort of limited trash won't mind, but for a movie with only two main characters and neither of them has any redeeming qualities, it's a rough road to travel and still find much to enjoy along the way.

Joel Kinnaman is OK as the driver Cage 'kidnaps', but writer Luke Paradise seems to have only two motivations No.1; To make you hate humankind and 2; To kill innocent bystanders while filling in time - neither offers much incentive to bother spending valuable time watching (unless your time is bordering on worthless).

For over 90mins the viewer is forced to run over the same situations and dialogue without getting any closer to finding out if anything might have a resolution and when the resolution is finally delivered, be left feeling somewhat cheated for what feels like two Hrs. What might have been a tight little suspense drama is wrung out into an overblown, repugnant hate fest in copycat Tarantino's lack of morals manner.

You will have to belong to the school of the easily pleased, otherwise be left wanting your time back. And people wonder why there's blood on our streets...?

This thoughtful TV Movie is graced with sterling performances from a cast of seasoned professionals. David Soul as the father of son Moosie Drier (always convincing- Oh God '77), the ever-reliable Barnard Hughes as Soul's father, and a group of unique supporting players --all bring this slow burn family study to life with their sincere portrayals-- offering several soul searching insights into their characters troubled past and present relationships. Perhaps a little more time could have been invested to flesh out the characters, but we eventually get to know what drives them.

The pace is somewhat deliberately introspective, but the outcomes are worth the journey. The well photographed, good looking locations, offer interesting vistas to compliment the emotionally searching story. Above average TV writer Burt Prelutsky (M*A*S*H) brings his characters to life with an admirable believability. This film has been treated to an excellent re-mastering so image and sound are impressive.

Highly respected Finish director Klaus Harro brings his quiet, controlled professional guidance to this introspective modern study of Familial intrigues and complexities from youth to older age. Writers Jimmy Karlson and Kirisi Vikman bring a sharp and thoughtful observation to this slice of life work. It's pleasing to find that films of this nature and depth remain being made in this era of superficial cartoon heroes and action fodder, churned out for largely uninvolved 'kids' of all ages.

Strong performances are essential for stories without CGI wizardry and non-stop action, and this cast of mature-aged players certainly keep the flow of emotions on track from first frame to last. In fact, right from the first scene (Catherine Walker in a group therapy session) you know an emotional tour de force may be on its way. All the carefully selected players are totally convincing as they bring the layers of complex relationships into the viewer's understanding. The dialog is intelligent, with the viewer needing to devote attention in following, lest you miss a vital line (having the ability to rewind is helpful) so DVD or Home Cinema set-ups can help with this.

Striking wide screen vistas of the Irish Coastline captured by Robert Nordstrom (The Disciple '13) are a joy to take in on a larger screen. Award winning Belgium born (of Italian parents) Michelino Bisceglia supplies the descriptive (classic inspired) score. Even Finbar Furey delivers an unannounced song. Lovers of Bergman studies are more inclined to run with this one, as well as O'Neil devotees. Some have disagreed with the time devoted to certain character changes, but they are in keeping when each characters back stories are fully known.

Polished viewing for discerning viewers. Younger audiences may not be as appreciative.

It would seem almost unlikely to find a film as dedicated to its uncommercial theme as 'Harold Fry'. With all the ugliness being churned out in world movies today, this hits you like a window being opened onto a suffocating world. Jim Broadbent is little short of remarkable as Harold, a man on his way to deliver a long overdue thank you to a friend - his is a rendition so natural you forget it's a performance. It's quite clear everyone involved with this production has lived through some of the movie's stirring situations.

Kate McCullough's cinematography is as natural as Broadbent's interpretation of Harold, with locations constantly sought to please the eye. Rachel Joyce's screenplay adaptation of her own novel perfectly carries its heartfelt message from its curious beginning to emotional finish. English traditional music specialist Sam Lee performs several original songs that fit nicely into Harold's peculiar pilgrimage. Then there's Ilan Eshkeri's emotive score adding much to support the narrative.

While a couple of minor scenes don't hold up as well as they might (perhaps 2nd unit additions?) the overall impact tends to hold its own. It's an odd premise, but here's one for those sick of the abundance of over the top perversion, and violence, being dished out by seemingly 'druggy' writers --pushing the glorification of ugliness-- that's poisoning so many motion pictures today.

Want something a little different? Try this (PS: kids might be bored)

Interesting second feature from Jeffery Bloom following his highly original (and better) "Dogpound Shuffle" ('75). Bloom attempted to bring something fresh and different to his earlier films but was limited in budgets to achieve full effectiveness, still, they are quite pleasing to watch and do feature a fine sense of wry humour. This one is not as polished as 'Dogpound Shuffle' but the participation of some interesting British bit players holds interest while it winds its way to an odd ending.

Multi-Award winner Michel J Lewis (Baxter '73) provides a jaunty music score, along with some creative visual touches from director of photography Michael Reed (On Her Majesties Secret Service '69). The director's wife, Pamela McMyler (marvelous in Dogpound Shuffle) is effective as the love interest of the reliable (and underestimated) David Soul.

David (who we sadly lost this year) also supplies a couple of interesting songs along with the director. Good fun for those who enjoy humour with a leaning towards a British flavour, while nicely written by an American.

This relatively early British drama from Hammer films benefits greatly from the professional performance of the always reliable Robert Preston - his strong presence caries this curious story through some occasionally shaky sections. The intriguing script by the real-life code breaker Leo Marks, is almost a one of a kind tale of a married couple who were resistance fighters and code breakers during WW11 - and a man out for revenge after the murder of his adored wife.

Possibly the weakest link is the episodic pace and uncertain direction of Francis Searle, although this picks up as the picture unfolds. The story holds interest exceptionally well to the very end, and highlights some solid moody cinematography by Walter J Harvey. Dark eyed Elizabeth Sellers looks lovely as Prestons ill fated wife, with several popular British bit performers of the day doing well filling the supporting roles. Anyone able to enjoy early British dramas should be entertained by this now rare oddity.

It's often amazing how little it takes for a film to be taken as an Award winner. This is now looked upon as a good example of the grueling Chain Gang genre. Obviously 'they' have not seen "I'am A Fugitive from a Chain Gang", "Sullivan's Travels, or "Strange Cargo". In this illustration the convicts have plenty of food to eat, get to have plenty of sleep, clean clothes, and even have time for silly food eating competitions like; betting who can eat 50 hard boiled eggs!. Apart from some hard road work it's more like a naughty boys club.

Luke is somehow seen to be a Christ-like character, even though he is little more than a drunken bum, who endlessly blasphemes and vandalises parking meters. These writers clearly know little about Christ. Try Richard Sale's 'Strange Cargo' for a convincing Christ like chain gang character - this limp script seems to have 'borrowed' from Sales example - and not at all very well. The sequence with the floozy washing a car is so cheesy in its contrived construction that its little more than borderline el-cheapo R stuff to pad out the run time.

Conrad Halls Technicolor cinematography, and a curious cast of support players, offer more interest than the script. Also not sure Stuart Rosenberg was the quite the right director for this one. Lalo Schifrin's score is highly reminiscent of another Newman effort just few years earlier by Elmer Bernstein for "Hud". 'Luke' ambles on for over two Hrs towards a disappointing resolution, ending up rather forgettable but seems to have pleased someone!

A dreary overstretched, silly story, not worth the valuable time it takes to watch. It's about as juvenile as too many other Eastwood Shows of this time. 2 stars is even be too high. Coupled with the fact it lost a motza of money tells us the audiences thought so too. Only just made it to the end of this for comment, but never again.

The screenplay is given little more treatment than a cheap TV EP - with so many far-fetched situations that defy all logic. Eastwood's just out of Massive Open Heart surgery for a full heart replacement - but dodges speeding cars, and fights violent thugs, along with the juvenile addition of a 'love' interest between the 70+year-old Eastwood and a 30-something woman is laughable.

Wish I hadn't wasted the time.

It must have been a bad year in dark, bleak Canada for something like this to be given any sort of Award other than that of a stinker. If we never visit the despotic mind of Brandon Cronenberg again, that will be too soon. Some people may enjoy the satanic realm they exist within but spare a thought for those not wishing to be infected. Words fail to describe the perverse nature of this trivial mess; it's so bad even the actors seem to be treating it as a chore to get through, just taking the money and bolting for the door. This is ultimately actor and audience abuse.

Sickeningly graphic body mutilation and totally perverse sex acts - with all nudity falling heavily into the squalid side, do not make for any form of healthy entertainment - unless the audience is as demented as the writer/director, who is obviously over-indulging in his own sick kicks.

Among the excuses made for this 'story' is; That it's attacking decadence and the 'rich' - maybe we should ask then, are the Cronenberg's poor? Or is this the limp excuse used to simply justify perverse cinematic overindulgence? Anyone who thinks that Shock, for Shocks sake, is cleaver needs to smarten up their brain before it rots any further.

Maybe for the sake of your mental stability consider staying away from this way over-stretched putrid mess.

Footnote: Interestingly, the damming review the script gives for the Skarsgard characters book is a perfect description of this movie's plot. Just couldn't be better put, and by its own writer!

Damaged persona author Laura Albert, after writing several books supposedly about her suffering at the hands of a seriously abusive mother, published her books under a 'fake' male name. When members of the book and movie world began showing serious interest in her publications, she convinced her gender confused sister-in-law to pose as the phantom author, JT Leroy. She then began promoting interviews under 'his' literary 'persona'. She/he was then set up to appear at press conferences in male attire, wig, and large dark glasses with various production meetings organized to push for funding and promotional setups.

It's a rather grotty scenario, and the further the charade is pushed the more obvious the deception becomes for all involved. Laura Dern works hard as the damaged writer, living out her impossible lie while Kristen Stewart plods along in the underwhelming role of JT Leroy. It's well photographed by Bobby Bukowski, but the screenplay and direction by Justin Kelly ends up being just another ugly 'modern' movie, about 'modern' ugly people. This supposed fact based story (difficult to know where the 'truth' lies) also shines a light on how easily conned our modern pop stars, and movie makers can be.

For the discerning viewer: Again SBS World Movies plays it as an M, but this is MA/R material, time they employed better classifiers to more correctly inform us. Endless F bombs, booze, and sex scenes (some sleazy) throughout.

On paper, this one claimed to be exposing the corrupt activities of elements of the FBI. This was to be done via several real-life sham operations, including a plot to mock-up a case against an impoverished Preacher of a local 'church'. In turn, this would bring recognition and false justification to the dept's worthless existence. If better handled this might have been commendable, but the problems surface early in the script, with crudely written vulgar dialogue, delivered in sloppy, so-called 'hip satirical humor'.

This might have supplied something worth' thinking' about while making us laugh, by rightly delivering a well-deserved slam of the FBI - also exposing the hypocrisy of certain Black vers White (and other 'racial' hatred) movements. As is, it's difficult to raise more than a mild grin with endless unfunny lines that simply leave the hapless performers with a foot in their mouths while delivering endless, perverse one-liners.

'Controversial' (too often for the sake of it) writer/director Christopher Morris (Brass Eye-Paedophilia prog) along with Tony Roche and others have pushed this lame duck over the edge, and into oblivion.

Lovers of so-called 'outlandish satire' may find this to their offish tastes, but looking at ticket sales, most audiences were aware in advance, displaying intelligence by staying away (perhaps a wake-up call needed here for BFI producers) Has good things to say but throws them away.

And by the way SBS World Movies, this is obvious MA material- not M as you are currently misguiding viewers with.

This production has its unfair share of predictable criticisms, but most of them show a shallow interpretation. As if this hugely complex theme can be summed up by superficial observances. It's impossible to put everyone in a box, with a neat label when we all have such different experiences of growing to maturity. This story, no matter how it's analysed, is head and shoulders above so many of the last two years' offerings. Sincere performances by all carry it through any possible shaky situations, with heartrendingly accurate interpretations - regardless of perhaps a little manipulation (that is, if it can even be called that...?)

Is it perhaps too slick for certain critics to take seriously (might this be part of it for some?) While it could be a theme some people might choose not to see, perhaps more should see it. There are certain sequences so painstakingly played that it looks as if they might fall over, but these professional performers carry the emotional impact to surprising effect. Young Australian performer Zen McGrath is impressive in the difficult role of the son struggling with depression.

For some members of the cast, this will be the second phase in their screen careers, but they prove totally up for it. And when in the hands of a master writer/director like Florien Zeller (The Father '17), not a great deal can go too far wrong. Award winning British cinematographer Ben Smithard (Goodbye Christopher Robin '17) is at hand to create the dazzling imagery, with veteran Hans Zimmer (The Lion King) adding the effective music score. If nit-picking, I might wonder if the visual device featuring the washing machine fully worked (?) Otherwise, a moving and professional experience.

Full Time - Non Stop Transit Bad Dream

This is quality movie making, highlighting the hand-to-mouth existence of a single working mum - struggling to keep the wolf from the door while commuting to and from Paris during a crippling transport strike. For his second feature, writer/director Eric Gravel makes sure not a moment is wasted on unnecessary story details - this is solid storytelling capturing the exhausting, everyday battles so many modern parents and workers are forced to face in cities all over the world - while also being a strong comment on social and personal mores. Not to mention the madness of strike action to 'improve' our lives.

Laure Calamy's striking performance certainly earns the well-deserved praise for her award-winning performance as the 5 star chambermaid trapped in hideous robot like working conditions. While not all the ideas may come off perfectly, its good stuff, with a Tangerine Dream like sound scape to keep it moving. Recommended as above-average quality, for discerning viewers.