Films: January 11 - 17

Being The Ricardos (2021)

Water For Elephants (2011)

Roadgames (1981)

Bølgen (The Wave) (2015) 

Annie (2014) 

Hemel (2014)

Samaritan (2022) ///

Being The Ricardos (2021) Designed with soft hues and enjoyable detail, a spirited Nicole Kidman and artful Javier Bardem convincingly bring to life Lucille Ball and Desi Arnaz. Biting dialogue and generous support have tangible sense of truth, even if collapsed, forced events ultimately undermine.

Water For Elephants (2011) Bright-eyed Robert Pattinson's memories of work and romance at Depression-era traveling circus feature sumptuous visuals though dramatic pulse remains restrained and passion with steely Reese Witherspoon never quite takes flight. Nostalgic charm prevails.

Roadgames (1981) Playful thriller, cleverly spinning moods with a sure control as drifting truck driver Stacy Keach believes he's on the trail of a serial killer burying body parts in the desert. Light touch, good nature and sparky Jamie Lee Curtis maintain involvement amid genre set pieces.

Bølgen (The Wave) (2015) Told with fluid, clinical style, disaster conventions of natural wiping out Norwegian town are embraced while emotional investment smartly concentrates on more intimate experience of family survival. Picturesque mountain locations and persuasive devastation.

Annie (2014) Spirited Quvenzhane Wallis makes a crafty orphan changing lives and spreading music amid plush New York locations. Jamie Foxx, Rose Byrne and cast sell comic touch with appealing energy,, though music arrangements dilute emotion and updated setting lacks resonance.

Hemel (2012) Ferocious, unrepentant Hannah Hoekstra searches for sparks of tangible emotion in the shadow of carefree father. Dreamy soundtrack and style confronts provoking subject matter, creating a character tension as gripping as it's ultimately poignant. Fascinating and brutal. 

Films: January 4 - 10

Something From Tiffany's (2022) 

Jaws (1975)

Where No Vultures Fly (1951)

Duel (1971)

A High Wind In Jamaica (1965)

The Quiller Memorandum (1966)

Mulholland Drive (2001) ///

Something From Tiffany's (2022) Minor romantic comedy sees mix up of gifts throw skittish Zoey Deutch and practical Kendrick Sampson into predictable emotional turmoil. Entirely predictable combination of better productions, anonymously amenable characters drift through New York. Glossily enjoyable.

Jaws (1975) Masterfully tailored thriller blends primal hunt for mythic killer with finely honed technique and observation. Family and community dynamics spurs Roy Scheider's quest, Robert Shaw provides seafaring spice and Richard Dreyfuss an edgy intensity. Driven by John Williams' relentless score.

Where No Vultures Fly (1951) Attractive location visuals compensate for unadventurous staging with principled Anthony Steel determined to establish African animal reserve and prevent colonial ivory traders. Wife Dinah Sheridan provides stoic support. Animals add vivid colour.

Duel (1971) Pricisely engineered, stripped-away narrative buids from mouting unease to unnatural threat as irritable Dennis Weaver finds himself terrorized by anonymous driver on desert roads. Vigorously rendered visuals including creation of beaten, angry truck and sparsely effective use of sound and score.

A High Wind In Jamaica (1965) Hadsomely, expansively mounted adventure, staged with conviction. After a storm rips apart their tropical home, children sent to England are captured by pirates. Irrepressible Anthony Quinn evolves from violent captain to doomed protector, yet narrative and character strands never quite cohere.

The Quiller Memorandum (1966) Jaundiced, principled George Segal proves an engaging spy on bleak Berlin streets, sent by superior Alec Guinness to infiltrate icy Max von Sydow's Neo-Nazis. Sparse and studied, ruthless characters deal in cryptic mistrust where even sympathetic Senta Berger subverts order.

Mulholland Drive (2001) Air of romantic dread gradually weaves spell as curious, hopeful Naomi Watts seeks to uncover identity of bruised Laura Harring while lost director Justin Theroux deals with ominous financial pressures. Obscure, confounding dreams of creativity and passion playfully rendered.