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Nigel Andrews writes about film for the FT. - -
Film Review: From low-rent London with love
‘Happy-Go-Lucky’ uncovers depths that few comedy creators but Mike Leigh would find or seek. The back of this postcard of a film isn’t confined to one line of holiday cheer, writes Nigel Andrews
Behind enemy lines
Hard-hitting films made with guerrilla tactics are increasingly in demand. Nigel Andrews asks how far directors have to go
Ingmar Bergman and Michelangelo Antonioni die on the same day, 30 July 2007
The Swede and the Italian were visionary dramatists of spiritual crisis in a faith-challenged world
Monsters of rock, straight out of the laboratory
‘Shine a Light’, Martin Scorsese’s film of a Rolling Stones concert in New York in 2006, is a tribute to a band few people now living on earth pre-existed, writes Nigel Andrews
Childhood replayed
‘Son of Rambow’ is a rainbow-coloured UK comedy about childhood, celebrating that innocent time in which Britain had just won the Falklands war, writes Nigel Andrews
A new morning
The five films nominated for Oscar best picture in 1967 signalled a cinematic turning point as a radical, racy ‘new Hollywood’ made its way to the big screen, writes Nigel Andrews
Film Review: The lighter side of human misery
The deadpan style of Roy Andersson’s ‘You, the Living’ is both appallingly comic and comically appalling. We only realise the effect when we wake from this extended screen dream, as after a night of being bitten by mosquitoes in our sleep, writes Nigel Andrews
Film Review: Memories and midnight horrors
‘The Orphanage’ is a wonderful Spanish horror film that circles you like an expert fighter, knocking you down each time you come up from the canvas. And it isn’t just your legs that turn to jelly, writes Nigel Andrews
Imitations of Christ
There have been many retellings of Jesus’ life on screen, from Biblical epics to non-religious stories subtly embedded with Christian themes. But whether it’s about a wardrobe leading into a fantasy land or a man crucified 2,000 years ago, Nigel Andrews finds that the only unpardonable act in this arena of cinema is a bland, lacklustre narration
De Palma brings blood and fire to the multi-media age
Crafted not just for a new conflict but also for a new age of proliferating, open-access image technology, ‘Redacted’ seems hijacked by serendipity. The film’s dialogue was largely improvised; De Palma walked away from the camera on occasion, writes Nigel Andrews
