list.co.uk/fi lm Reviews | FILM

COMEDY DRAMA SHOOTING FOR SOCRATES (PG) 91min ●●●●● COMEDY LISTEN UP PHILIP (15) 109min ●●●●●

SATIRE DEAR WHITE PEOPLE (TBC) 108min ●●●●●

James Erskine’s endearing film plays out against the tumultuous backdrop of mid-80s Northern Ireland. But its focus is the real-life journey of the national football team to the 1986 World Cup, where they face the might of Brazil and star player Sócrates de Souza in a tense decider. While the narrative makes astute observations about the difficulty of living a normal life during the Troubles, it’s Erskine’s subtle approach that most impresses, as he shows the strength of spirit that can bring communities together. Through the sweat, tears and dedication of the team, their optimistic, and opportunistic, manager Billy Bingham (John Hannah) and the legions of fans back home including Art Parkinson’s Tommy we see how a love of football can heal divisions and be as transformative as religious faith.

The life of a misanthropic novelist is scrutinised in Alex Ross Perry’s latest. We meet Philip (Jason Schwartzman, on fine form) as he marches around NYC venomously setting the world to rights. It’s hilarious, particularly because he’s voicing an inner contempt not many would have the gall to whisper, even though we may be thinking the same. There’s probably a little bit of Philip in all of us.  Philip’s second novel is about to be published and he’s going through a crisis. You may feel like you’ve seen this before, but Perry upends the usual formula by delving into the reactions of Philip’s long-suffering partner Ashley (a disarming Elisabeth Moss). When Philip is invited to stay with an author he idolises, Ike (Jonathan Pryce), he learns that arrogance, selfishness and solitude may not lead to happiness.

The result is well-known but that does nothing to Perry has fashioned an astute and layered

diminish the enjoyment of watching this colourful group of men strive for glory. Add in a light-hearted tone, keen eye for period detail and great performances Conleth Hill’s turn as commentator Jackie Fullerton is a highlight and it makes for a charming celebration of the beautiful game. (Nikki Baughan) Selected release from Fri 5 Jun. screenplay. His attention to detail is impressive and the 70s aesthetic gives it left-field appeal, while the dialogue recalls the best of Wes Anderson. It’s a rare filmmaker who can effortlessly glide between so many different psyches in such an insightful and witty way. (Katherine McLaughlin) Selected release from Fri 5 Jun.

Justin Simien’s canny satire may make you squirm but it paints a complex picture of racial politics and identity in the US. With an edge that belies its sophisticated setting and a welcome shot of compassion, Dear White People introduces us to the prestigious, self-segregated Winchester University; a nest of users, closet racists, entitled assholes and shit-starters. It follows a white-girl wannabe (Teyonah Parris), troubled shock-jock (Tessa Thompson), faction-less gay nerd (Tyler James Williams) and smart stud (Brandon P Bell) as they negotiate the nastiness. Fuelled by a provocative radio show, campus tensions build to a truly horrible Halloween party. Executed with class and performed to perfection,

Simien’s debut uncovers the insecurity behind the carefully manufactured fronts, offering great insight into the contradictions and concerns of young black culture. And he provides thoughtful, witty commentary on the dog-eat-dog world of ambitious hopefuls of any skin colour, whose opinions are played back and preserved for posterity before they’ve even graduated, and who stumble in their haste to make a mark. (Emma Simmonds) Selected release from Fri 10 Jul.

ACTION SPOOF SPY (15) 120min ●●●●●

With the Bond franchise reverting to a male M and Moneypenny back behind a desk, the timing’s right for a female-fronted spy spoof. Director Paul Feig (Bridesmaids, The Heat) reteams with muse Melissa McCarthy for a funny, exciting, genuinely ambitious film that fells its targets with deceptive ease. McCarthy plays Susan Cooper, the indispensable office support to CIA superspy Bradley Fine (Jude Law), who’s sent into the field when the unthinkable happens. Susan’s identities are dowdy and her gadgets are crap but her initiative drives her into the heart of an arms deal.

Although it begins with a takedown of Bond, Spy also sets its sights on the more gung-ho, muscle-heavy actioner; Jason Statham sends himself up as a pigheaded rogue agent with a much-boasted-about history of unbelievable exploits.

McCarthy delivers physical gusto and so much sweetness

and sincerity you’ll have her back through every triumph and corresponding moment of indignity, while Rose Byrne is exceptional as the big-haired, exuberantly outfitted, nuclear weapon-touting Raina; the scenes where this arrogant villainess verbally spars with the insecure Susan are the film’s finest. By sidelining archetypal alpha-males and challenging

their sexist assumptions, Spy waves a flag for awkward, underappreciated women in any workplace, wearing its feminism as a badge of honour. Set-pieces are pulled off with aplomb, yet Feig’s film simultaneously introduces a degree of sense to proceedings, drawing attention to violence that’s often skirted around. Spy is a hugely likeable, perfectly judged parody that provides empowering action and embarrassing incidents in equal measure. (Emma Simmonds) General release from Fri 5 Jun.

4 Jun–3 Sep 2015 THE LIST 73