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Film REVIEWS
BIOPIC THE IRON LADY (12A) 105min ●●●●●
In The Iron Lady director Phyllida Mamma Mia! Lloyd and writer Abi Shame Morgan take arguably the most significant British politician in living memory as their subject, and perversely evade questioning her policies. The result is a film about the cost of power that features a brilliantly convincing lead performance from Meryl Streep, but offers no significant insights on the lady of the title. The film depicts the formerly fearsome
Conservative Prime Minister as a frail old lady bewildered by modern culture, doddering around her flat while carrying on conversations with her late husband Denis (Jim Broadbent). Episodes from Thatcher’s earlier life unfold from her memory: her rise through the political ranks is played as a fish- out-of-water comedy, with Lloyd drawing gentle humour from Thatcher’s determination. But when tackling the Poll Tax riots and the Falklands War the issues are kept at the distance of newsreel footage – Thatcher’s motivations don’t appear. Morgan’s script would lend itself well to a one-
woman stage show, and is consequently the ideal showcase for Streep’s towering performance. The cast is fit to bursting with cameos from recognisable British actors – Richard E Grant as Michael Heseltine is particularly entertaining. But this is Streep’s show, and while she is very good in the Prime Minister sections, it is as the aged, present-day Thatcher that her performance is most potent. Assisted by terrific work from the make-up and prosthetics departments, Streep movingly enacts a formidable mind deteriorating, and clinging to the last shreds of reason. (Paul Gallagher) ■ General release from Fri 6 Jan.
THRILLER INTRUDERS (15) 110min ●●●●●
ADAPTATION CORIOLANUS (15) 123min ●●●●● BIOPIC W.E. (15) 119min ●●●●●
Spanish director Juan Carlos Fresnadillo has never quite delivered on the promise of his clever debut feature Intacto. Retro chiller Intruders is cleverly constructed and suspenseful but fades when pitted against superior genre fare such as The Orphanage. In Spain, a young boy finds his worst nightmares bursting into the real world in the form of hooded demon HollowFace. The story continues in leafy suburban England where 12-year-old Mia (Ella Purnell) believes that a faceless intruder is coming to steal her features. Her father John (Clive Owen) fights the demons on her behalf while her mother Susanna (Clarice Van Houten) wonders if the whole thing is a figment of their joint imaginations. Fresnadillo favours creepy, slow-building suspense
over graphic gore but seems to lose sight of some promising plot elements – including the character of Daniel Bruhl’ s kindly priest – that are never given their full weight. Spanish screenwriters Nicolas Casariego and Jaime Marques do eventually spell out what connects the two children ensuring a satisfying conclusion to an otherwise derivative, moderately engaging scary movie. (Allan Hunter) ■ General release from Fri 27 Jan.
Ralph Fiennes’ directorial debut is a powerful reimagining of the Shakespearean tragedy and a resonant story about leadership, politics and power. Acting as well as directing, Fiennes stars as the central character, the eponymous Roman soldier whose contempt for the masses prevents him from gaining the support of the people, despite his valiant efforts in battle. He soon finds himself falling victim to the city’s scheming politicians, the pressures of his family and his own pride.
Through the use of bare Serbian locations, and frantic, restless cinematography courtesy of Barry Ackroyd (The Hurt Locker), Fiennes creates a modern day, war-torn Rome that is charged with civil unrest. Crucially, though, he has retained the original Shakespearean language. Initially this combination of archaic speech and contemporary aesthetics feels jarring, yet gradually the atmosphere takes hold, helped along by excellent performances from the cast, including Brian Cox, Vanessa Redgrave and rising star Jessica Chastain. The end result is a portrait of a flailing leader that feels as pertinent now as it ever did. (Gail Tolley) ■ General release from Fri 20 Jan.
Madonna’s second film as director depicts the relationship between American divorcee Wallis Simpson and King Edward VIII, whose union shook the 1930s British monarchy and provided a sub-plot in last year’s The King’s Speech. Co-writing the script with her In Bed With
Madonna director Alek Keshishian, W.E. recalls Meryl Streep cookery drama Julia and Julia by intertwining such familiar biopic elements with the fictional story of modern-day New Yorker Wally Winthorp (Abbie Cornish), whose sympathy with Wallis casts some light on her own relationship with partner Evgeni (Oscar Issac). This awkward framing device dilutes the screen-
time offered to Andrea Riseborough and James D’Arcy as Wallis and Edward, but at least allows Madonna the opportunity to make some valid points about how celebrity culture. And while flatly acted and stiffly structured, W.E.’s sumptuous look and gorgeous costumes give the film a substantial entertainment value, even if the patchy result will only be of interest to Madonna’s own fan-base. (Eddie Harrison) ■ General release from Fri 20 Jan.
5 Jan–2 Feb 2012 THE LIST 65