FILM | Reviews
EROTIC DRAMA THE DUKE OF BURGUNDY (18) 104min ●●●●●
‘You can pin and mount me like a butterfly,’ sang Morrissey in the Smiths’ ‘Reel Around the Fountain’. It’s a line tailor-made for Peter Strickland’s latest, a pleasingly original yet playfully retro romance set in an undisclosed European city. The Duke of Burgundy tears down the facade of a sadomasochistic partnership, exposing the anxiety and discontent behind the leather and lasciviousness. Encircled by an ethereal score and emerging through a
dreamy haze, it’s grounded by earnest work from Sidse Babett Knudsen and Chiara D’Anna. They play lovers Cynthia and Evelyn who share a passion for winged insects, and who themselves live a somewhat cocooned existence. Their relationship appears to be that of cruel mistress and compliant servant before these are revealed as characters from their regular role playing.
In crafting his third narrative feature, British writer-director Strickland set out to resuscitate 70s erotic cinema, giving us a world inhabited only by women and imaginatively illustrating the wearying, destructive nature of kinky rituals. The irreverent vein of humour provides welcome respite from the tortured romance, while the film’s sensual, prosaic and macabre imagery coalesce to intoxicating effect. (Emma Simmonds) ■ Selected release from Fri 20 Feb.
SATIRE THE INTERVIEW (15) 112min ●●●●●
At a time when satire is an increasingly rare commodity, The Interview became a cause célèbre when Sony temporarily pulled its release after threats from cyber-terrorists. Yet Seth Rogen and Evan Goldberg’s film is more of a knockabout comedy in the vein of their patchy This is the End.
Talk-show host Dave Skylark (James Franco) tries to boost his waning credibility by arranging an interview with Kim Jong-un (Randall Park). Agent Lacey (Lizzy Caplan) wants Kim dead, and flirtatiously enlists Dave’s support, along with his producer Aaron (Rogen), but matters are complicated by Dave’s bromance with the North Korean dictator.
The film warrants credit for occasionally addressing real- world issues: a store filled with cardboard goods illustrates how the visiting media are fooled by apparent prosperity. But the humour is mostly crotch-level and bonhomie gives way to tiresome violence in a largely joke-free finale. And the filmmakers have nothing to say about politics, the seductiveness of power, or the shallowness of modern media. Playing like a brainless Adam Sandler comedy, complete with a slew of celebrity cameos, The Interview simply doesn’t deserve the attention it’s provoked. (Eddie Harrison) ■ General release from Fri 6 Feb.
BIOPIC SELMA (12A) 128min ●●●●●
In his iconic 1963 speech, Martin Luther King shared his dream that one day all Americans would be judged not by ‘the colour of their skin, but by the content of their character’. While King’s words echo down the years, his optimism remains largely unrealised; indeed, it’s impossible to watch Selma without drawing uncomfortable parallels with recent incidents in Ferguson and New York. Yet the power of Ava DuVernay’s astonishing film comes from an understanding of the limits of King’s work as much as its celebration of his achievements.
Selma concentrates on a pivotal moment in King’s campaign for equality: the 1965 marches from Selma to Montgomery to demand voting rights for African-Americans. As King (David Oyelowo) comes up against a nervous President Lyndon B Johnson (Tom Wilkinson), the racist Alabama governor George Wallace (Tim Roth) and the brutal local police force, he must fight to retain the courage of his convictions.
Oyelowo is exceptional, inhabiting this great man with humility, grace and the
understanding that he’s part of a bigger picture. And he’s surrounded by a stellar cast, including the tremendous Carmen Ejogo as his inspiring wife Coretta. The filmmaking is equally impressive, with DuVernay and debut screenwriter Paul Webb avoiding the pitfalls of lionising or melodrama, and it’s beautifully shot by cinematographer Bradford Young. Presenting King as a vulnerable, fallible man attempting to turn the tide of history, Selma is a resonant, relevant portrait not just of an individual but also of the relentless hypocrisy of racial inequality in a country built on the ideals of freedom and democracy. It’s an essential piece of cinema. (Nikki Baughan) ■ General release from Fri 6 Feb.
ANIMATION SHAUN THE SHEEP THE MOVIE (U) 85min ●●●●●
Following Postman Pat and Paddington, the latest British children’s TV show to receive the big-screen treatment is Shaun the Sheep, Aardman’s stop- motion animation series. Happily, the show’s creative team are on board for the film version, resulting in a treat for adults and children alike.
When a botched plan for a day off leads to the Farmer getting lost in the Big City with a head injury, it’s down to Shaun and his friends to rescue him. They quickly run into difficulty when they’re spotted by an animal catcher who will stop at nothing to put
them behind baas. Any fears that the feature-length format would struggle to sustain the series’ trademark absence of dialogue (all the humans speak in unintelligible grunts) are swiftly allayed thanks to a steady stream of hilarious, well-timed sight gags. The filmmakers have also made sure to include jokes for all ages: it’s unlikely that the TV show’s target audience will appreciate The Silence of the Lambs references, for example. And, as ever with Aardman, the level of craft is breathtaking: each frame comes packed with tiny details that will reward future viewings. This is a beautifully made, hugely entertaining comedy that the whole family can enjoy. (Matthew Turner) ■ General release from Fri 6 Feb. 60 THE LIST 5 Feb–2 Apr 2015