Once you get over the barely believable contrivance that is the central premise, Two Days, One Night is outstanding. Marion Cotillard's performance, if it's possible, is both showy and incredibly subtle: she nails the big emotions in a big way but more impressive are the shots of her walking from colleague to colleague with the almost imperceptible body language of a person on the edge. Her shoulders are hunched, her movements robotic as she does what she has to do…
Too much everything: too much acting, too much close-up, too much emotion, too much directing, too much music, too much awful decision-making by characters and, in the third act, too much abandonment of the concept in favour of something not particularly interesting. Too much extremely bad ending, too. Give the girl your jacket, Halle!
Do yourself a favour and watch The Guilty instead for a lesson on how a film like this can be quite brilliant with just a bit of restraint and simplicity.
I must've watched a different film to everyone else.
This is a film that is terrified of emotional honesty and tries to conceal its cowardice with a dull legal procedural and showy yelling arguments (which, granted, do get the best out of Driver and Johansson). But even in these raw moments, the characters never attempt to be honest with each other, never expose their desires to each other, never display a hint of vulnerability. Their narcissism is rife and the…
A great film to watch to keep me on the straight and narrow for Dry January, and, between The Lighthouse and High Life we are witnessing the birth of a new genre: the Robert Pattinson psychosexual wanking film.
The Lighthouse is a film of magnificent moments. The first ten minutes are magical – dialogueless, but full of superb storytelling and intrigue; gloriously shot with several things to catch the eye and study delightedly in every single frame. Both characters get…