11-year-old Lucas (Keyworth) is worried that his mother (Ardant) will fall victim to a psychopath who is terrorising West London with a series of razor attacks on blind women. Holding little faith in the abilities of his father (Fox) as a policeman on the case, the boy begins to suspect those around him... Screenwriter Peploe's debut as director is an ingenious psychological thriller that attempts to delve inside the dark recesses of the mind of its pre-pubescent protagonist. To some extent, it succeeds, thanks partly to genuinely touching playing from Keyworth, partly to a script that contrives to endow what is essentially a very simple plot with a wealth of Freudian symbols, cinematic references and narrative twists. It was probably more satisfying on paper than in its finished form, however: several of the performances in the first half are (perhaps deliberately) somewhat stilted, and there's a faint academicism at work which militates against real suspense.
Grooming rooms and luxury treatment salons open in London all the time, and they’re often excellent ways to blow the best part of £100, if you have the means or occasion. But while London is gradually developing a taste for blow-dry bars and polished nails, we’re still miles behind our cousins in New York, where getting a ’do and a mani is something you’d consider for a meeting, not just your wedding day. But if anything is going to up our grooming game, it’s Barber & Parlour, Soho House’s newest London venture. Crucially, it’s going to do so without boring us for a whole afternoon, or emptying our wallets. It’s fun, fast and cheap. Barber & Parlour takes up a whole building on Redchurch Street, also home to numerous cool fashion stores and a big advertising agency, with Shoreditch House members’ club just around the corner. It fits in perfectly – and the casual ground-floor café with velvet-ey sofas and flat whites on the menu will no doubt be an instant hit. This is where you can also find Neville, a new barber shop and men’s groomers serving up everything from a moustache trim (£12) to a men’s manicure (£15) or a quick haircut (£30). Crucially, it’s walk-in, so men working in the area can just amble over between thought showers. Upstairs, the gals have The Cheeky Parlour (which has been open since this time last year) for rapid, excellent and cheap mani-pedis (£10/£14) – again, available on a walk-in basis. A further menu of waxing and beauty treatments is promised bef
Who’d have thought that a major film studio would be so wholeheartedly dedicated to civil rights? But, yes, the gods have responded to the hordes of teenagers left weeping at the turnstiles of Odeons, Cineworlds and Vues across the land by decreeing that the producers of ‘Brüno’ edit the film into a version fit for 15, 16, and 17 year olds. So, what’s missing? Gone is a scene at the beginning showing the colourful sex life of Brüno and his pygmy boyfriend. Gone is a scene in which Brüno mimics oral sex with a dead friend. And gone is a scene in which Brüno gets close to a couple having sex at a swingers’ party. The new edit is less sexually charged – and less explicit – than the original ‘18’ cut and Brüno’s bedroom antics are left more to the imagination. But worry not, there are plenty of jokes left about abortion, homophobia, Palestine and the like for teens to giggle at.
Each week, we round up the most exciting film events happening in London over the coming week, from pop-ups and one-offs to regular film clubs, outdoor screenings and festivals. Here’s this week’s top five… 1. Film4 Frightfest: 'Hawk the Slayer' Somewhere in the mists of time (or dry ice to you and me), Hawk the Slayer roamed a land of painted backdrops, cardboard castles, and gauze-infested forests, fighting Evil and bringing Peace. His team: a dwarf, an elf, a giant and a witch who can turn a useful trick or two. His opponents: the rest of the world captained by big brother Jack Palance, a dirty player if ever there was one. The object of the game: kill each other. Sure, this not-quite-epic sword ’n’ sorcery adventure is pretty daft. But with director Terry Marcel launching a Kickstarter campaign to make long-awaited sequel ‘Hawk the Hunter’ (alongside composer Rick Wakeman!) we think it’s well worth revisiting. Vue West End, 3 Cranbourn St, WC2H 7AL. Sun Aug 30, 1.20pm. £13.25. 2. Last Resort A great excuse to check out the ultra-cool, DIY Deptford Cinema. In this compassionate, low-key British drama, Tanya and son Artiom arrive at Stansted airport from Moscow but don't get past immigration. Her fiancé never shows. She claims political asylum. The pair are dumped in Stonehaven (aka Margate) in midwinter, where they’re expected to subsist on vouchers until their case can be considered. But the desolation of this grey open prison is not allowed to overshadow a tender
A fine psychological thriller, adapted from an English mystery novel (John Wainwright's Brainwash) already accented by a Série Noire translation. The potential staginess of the material - a New Year's Eve interrogation in a provincial police station - is admirably shaken by inspired adaptation, mise en scène and editing as cop Ventura turns 'witness' Serrault (an attorney obsessed with his own mediocrity) into a suspected rapist and murderer. No descent to glib cat-and-mouse cleverness, and no recourse to actorly fireworks: Miller's confidence in dialogue and an ever more tightly twisting plot is simply a gripping joy.
A priori, 'Jacky au royaume des filles' a tout d'une satire bien ficelée. Tous les ressorts d’une comédie caustique qui avance en sabotant les conventions sur son passage avec pour combustible, un savant mélange de réflexion et de gags à vous faire (un peu) glousser. Critique sociale, politique, religieuse, sexuelle. Posture féministe. Absurdité. Message universel. La mesquinerie, les idéologies totalitaires et le machisme en prennent plein la figure dans ce conte où les femmes règnent sur le monde, vulgaires comme des routiers après une bouteille d’eau-de-vie, violentes comme des soldats en rut, autoritaires et misogynes comme un méchant patriarche sicilien. Dans leur ombre, les hommes, armés seulement de leurs voiles et de leurs jupons, ont à peine le droit de moufter tout en rêvant de participer au bal « du grand couillon », grosse boum officielle à l'occasion de laquelle l'héritière du trône (Charlotte Gainsbourg) élira son tendre époux. Et dans tout ça, le brave Jacky (Vincent Lacoste) a une vie de merde : pas de bol, pas d'argent, pas de jolie robe, pas vraiment de famille. De malchance en mauvaise fortune, il en est même réduit à faire la boniche chez sa tante, son oncle et ses vilains cousins comptant, pour s’en sortir, sur son bon cœur et son petit minois, qui fait des ravages auprès des dames. Bref, le dernier film de Riad Sattouf ressemble drôlement au pendant masculin de Cendrillon, agrémenté d’acné, de branlettes, de travestissements, de révolutions populaires et
Rien ne va plus pour Bettie, la soixantaine. Indépendante et dotée d'un fort caractère, elle vient d'être quittée par son amant et son restaurant ne marche pas. Alors que les créanciers la pressent à payer ses dettes, elle prend le volant de sa voiture et fait une "fugue". En chemin, elle en profite pour faire des rencontres, assiste même à un gala d'ex-miss France. Sa fille, qu'elle n'a pas vue depuis des lustres, lui confie son fils qu'elle ne connaît pas. Sa mission? Emmener l'enfant chez son grand-père où il doit passer ses vacances. Bettie, qui improvise dans le rôle de grand-mère, a bien du mal à apprivoiser le petit garçon rebelle...
This sweaty two-hander about a police interrogation is a remake of Garde à Vue, Claude Miller's claustrophobic 1981 suspenser, relocated from provincial France to a small Caribbean island in carnival week. World-weary cop Freeman invites bigwig lawyer Hackman down to the station for some routine inquiries which turn out to be anything but. Three young girls have been raped and murdered in the past month, and the suspect's stumbling account of his movements serves only to heighten his inquisitor's conviction of the man's guilt. Circumstantial evidence, however, will have to be backed up by some notion of motive. From here, the psychology starts getting rather murky. You can understand the stars' attraction to the material, since it obviously offers a good chew on middle-aged regrets, sexual guilt and frustration, a rich old stew. All director Hopkins had to do was put these two guys in a room together, turn them loose and watch the fur fly, right? Well, you would think so, but what the maestro of Lost in Space actually does is to open out the action at every opportunity, revel in gimmicky flashbacks and sensationalise the lurid background detail, leaving the gritty central performances to go for very little.
Reviewed at the 2009 Venice Film FestivalRecalling the rueful but sweet-natured tenor of Robert Altman’s fond adieu to a long established radio show in ‘A Prairie Home Companion’, French New Wave alumnus Jacques Rivette offers a ramshackle road trip across France’s Languedoc region with an underperforming circus troupe in his effervescent miniature, ‘36 Vues du Pic Saint Loup’. Both films are, in a sense, ghost stories, as Rivette depicts the painful memories of departed lovers hovering in the air, as well as the emptiness of the big top as performers happily play out their act to rows of empty stools.Very loosely based on the life of dandy author Raymond Roussel, the story sees well-to-do Italian drifter Vittorio (Sergio Casteilito) deciding to trail a small circus as it ambles through a series of bijou French villages that satellite the titular Pic Saint Loup. Kate (Jane Birkin) is the ringmaster of sorts, who instead of trying to coax townsfolk into seeing the shows, spends time making fruit salads to reward those who come of their own accord. An awkward romance develops between the pair, but the confident, mysterious Vittorio, struggling to work out why Kate is always so distant with him, soon learns of a terrible accident that befell her ex-lover, Peter.Rivette has acknowledged that the idea for the film came about while he was making ‘La Belle Noiseuse’ in 1991, and this new work displays a similar curiosity not only about the details of how art comes into being, but ho
The Vue Westfield sits within the Westfield shopping centre in Shepherd’s Bush, west London, and offers 17 screens, showing mainly mainstream movies. Seven of the screens are 3D-enabled, while there are three luxury Scene screens (upscale seats, more expensive tickets) and two VueXtreme screens – essentially IMAX-style screens. The venue offers the usual selection of food and drink.