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Nigel Andrews writes about film for the FT. - -
Film releases: November 6
Nigel Andrews reviews Jane Campion’s ‘Bright Star’, ‘Paper Heart’, ‘Henri-Georges Clouzot’s Inferno’, Robert Zemeckis’s animated version of ‘A Christmas Carol’, ‘The Men Who Stare at Goats’ and ‘1 Day’
Film releases: October 30
Nigel Andrews reviews the Nick Hornby-scripted ‘An Education’, environmental ‘gotcha’ movie ‘The Cove’, ‘Starsuckers’ and Cristian Mungiu’s ‘Tales from the Golden Age’
Film releases: October 14
Nigel Andrews reviews ‘The Imaginarium of Dr Parnassus’, ‘Thirst’, ‘Le Donk and Scor-zay-zee’, ‘Triangle’ and ‘Pontypool’
Samuel Maoz’s prize-winning war film
The director tells Nigel Andrews that ‘Lebanon’ was based on his own experiences as an Israeli soldier during the 1982 war
Films: All over the place in pursuit of a perfect home
A comedy about a couple flitting across America to find a place to deliver their first child rains funkiness and unstable lovability like ceiling plaster. It needs these hints of chaotic amiability, since the structure is gimcrack, writes Nigel Andrews
The Venice Film Festival
Nigel Andrews is betting on Israel’s ‘Lebanon’ to win the top prize because it has everything: a powerful plot, prodigious direction and a passport to international controversy
Bonfire of the certainties
Certainties are put to the sword at the Venice Film Festival; thumbs are turned up or down; crowds and critics bay. Even US filmmaker Michael Moore seems to have caught the mood, writes Nigel Andrews
Film releases: Not yet ready for cosmic unity
Peter Aspden sees a rare sci-fi flick with socio-political bite and a documentary about an extreme swimmer, while Nigel Andrews looks at the week’s other releases
Film releases: To hell with a hothead hero
Kathryn Bigelow’s ‘The Hurt Locker’ boldy suggests that war is sometimes fought not by trepidatious hero-martyrs but by the borderline-psychopathic, writes Nigel Andrews
Film releases: A dizzy dance with Hitler and Co
Though Tarantino’s ‘Inglourious Basterds’ goes nowhere, holds no human verities and has no historical heft, it is an entertaining piece of Pop Disco Art from cinema’s most talented tease, writes Nigel Andrews
