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Absolutely love awkward family dinner scenes (someone should compile a list).

Never seen the squalor of poverty more convincingly filmed. As a gothic horror, it leaves Nosferatu in the dust, this is the film that horrified me. A must for fans of David Lynch, the Elephant Man being the most obvious connection but also the way the soundtrack is used to maintain the dread. The title of this film is brilliant, there are three meanings all expertly woven into the film. What I loved most of all, was that after two gruelling hours of sordid reality, the film managed to let a slight message of hope escape. It was not presented sentimentally, but the hope was very hard won. I’m off now to find your review of Sweat.

@ 0´33" ff.: "There are no old films", Godard once said...

A remake or a different interpretation of the book would be very welcome. Strangely (?) Trump said he could identify with the Cooper character 😂

just watched and this was the best review i could find. loved the movie as you did and was also a bit confused with the song choice at the ending. great analysis!

When the Godfather was first released I saw it with an intermission just after Michael finds the gun planted behind the toilet at the restaurant. He returns to the table and kills the police officer. The tension leading up to the shooting felt scarcely bearable. I’ve never forgotten the collective gasp that was emitted in a full cinema and the buzz of the audience talking about what they had just seen. I can’t find anyone else who has seen the film this way (it was on the Isle of Wight) but it only added to the drama. I would have been very happy for intermissions in both of Scorsese’s last two films and think I would have enjoyed them more for the reason you mention. Most of my friends streamed them and could have as many intermissions as they wanted.

I enjoyed the first half better where it just seemed to be about a family coming apart. Once it became clear it was about witches it became much less interesting despite a couple of very memorable images towards the end involving Toni Collette's character.

In the end I did not enjoy this more than you did, but did find it mildly entertaining. Thought the first hour dragged terribly (three people walked out of my screening before Thomas even reached the castle) except I did enjoy the horses neighing because it reminded me of Young Frankenstein. I was the only person who laughed when crazed guy bites the pigeon’s head off, reminded me too much of Monty Python’s take on Straw Dogs. There are disadvantages to being so old everything reminds you of something silly. In the end, I enjoyed it for being silly, but no more frightening than What We Do in the Shadows. Petyr much more scary than Orlok.

Was so looking forward to this partly because of the rave reviews and also because I felt it would let me off from reading the book, which after all looked like a tough read. I understand the filmmaker’s dilemma with a serious story like this. How do you present the abuse without making it into abuse porn? Even poor Steve McQueen was accused of making slavery porn out of 12 years a Slave. No one could accuse this film of being style over substance, because there is a lot of substance. But the style absolutely strangles the substance for me. I felt stupid watching it because I could never quite figure out who was speaking to whom or exactly what was being suggested. I can take that fine in a David Lynch film, but even he gave The Elephant Man a telling that did not lose the story. I never could work out what happened to the boy who failed to throw the fight. Something nasty for sure, but his fate just seemed to be shoved aside. A lot of the time, life at the school just seemed no more horrific than any English boarding school. I do understand the critical praise about that hug, it gave me chills, but it was presented so fleetingly I thought myself lucky not to miss it. So yeah, I agree with your gripes except the one about the screen ratio, I think I understood that, courtesy of having grown up in America during that period. Due to the popularity of television at that time it felt like history happened on a square screen. All the important events in my memory: the civil rights marches, Kennedy’s inauguration, Kennedy’s assassination, walking on the moon, they are all black and white and square. I think you have to be of a certain age to have those square memories and in America television was something everyone watched every day. Not so much in Britain with its 3 channels that signed off neatly every night. So I was fine with the ratio, not sure that was the intent. Feel sad it has now ruined the book for me -that should be a lesson learned.

Well it was certainly ambitious and definitely arthouse - I think we should embrace the 'style over substance' positioning of this film (and others) and accept it as part of the risk of experience in the journey of arthouse ambiguity

I agree with the gut in the black t-shirt on all the points. 🤝🏼

Thank goodness there is something I can skip. Awards season makes it hard to keep up.

So glad you enjoyed this, as I wondered how it would be received by generations that had no particular attachment to the music. I saw it in a captioned version on a large screen and I swear at the end every person of my age just had a big beaming smile on their face. It was lovely to see that reaction and part of the reason why I persist in seeing new releases in the cinema. I was 14 and living in New York City when I became aware of Bob Dylan. I actually lied to my mother about a sleepover and took the train to Bleeker Street in search of a cafe where he might be playing. I can vouch the film makers lovingly and faithfully recreated what Greenwich Village felt and looked like. Of course, I never did see him then, that was many years later. What I loved about this film is the main character is The Music. Thank goodness Timothee Chalamet is up to the task of performing that, I do believe his is a genius of a kind. The second main character is the Era. The film takes us from a time of hope, idealism, peaceful protest and ends with a time of cynicism. From “come gather round people” times to “you gotta lot of nerve”. During that space of time President Kennedy was shot and a lot of dreams, however unrealistic, died. I found the characters and the lines they say between the songs were all pretty cartoonish, but it never detracted from my enjoyment. The only part that got on my nerves was Elle Fanning’s perpetual sulk, but no character was given any depth to portray. Dylan himself is simply portrayed as an icon, and I’m fine with that.

You really do your homework for us, for which I thank you. Just can’t decide whether I should go or not (there are too many good films out at the moment for me to keep up. At any other time it would be a shoo-in, as I love Eggers’ work. The atmosphere alone terrified me in The Lighthouse, no need for a monster). I have seen more versions of Nosferatu/Dracula than most people have had hot dinners, but they are all mostly some time ago, so perhaps it will be possible for me to enjoy this more than you did.

One of the best movies I've ever seen

So happy to see someone else love this movie as much, and for the same reason, I did. I just finished watching it for the fourth time. Every time I see it, I understand something new, or understand something differently. It’s sad that the world’s increasingly materialist way of thinking is robbing people of imagination, and the ability to make abstract leaps. (Einstein’s great gift as a scientist was abstract thinking, his mathematical abilities sucked.) This movie requires the faith of a child, and really, so does art, in general.

I had such high hopes based on the early so over the top reviews. But when the audience score came out at B- I realized that these early reviews were paid shills and film majors. When I watched it I found it very slow and boring, the acting was comical and he looked like Freddie Mercury and Omar Sharif. I give it a C-

Fun fact, from the other side of my room, the 'white' square of your microphone and it's position has me thinking you might be a priest! Just a friendly word from one creator to another! 😂👍🦇 Best wishes

We just finished this. What a lovely weird little movie. Thanks again cliff

Hey Cliff, I have a different understanding of what happened at the end, André did that crazy act because he does love Vera and understands that he genuinely wants to be with her, but, in the last ten seconds you can see how Vera wants to be “Just Vera” without all the baggage that ties her down like her mother, and also André. She stops in her tracks letting André go. Also, during the movie I experienced the same feeling of wavering of my feelings towards Andre and feeling sorry for him, but I think it was definitely on purpose and added to the movies charm.

Hi Cliff, enjoying the channel. I’m definitely not a film reviewer and I’m sure I would be a terrible one. A film either does it for me or it doesn’t. If I do find myself critiquing during the film I’m watching it usually means it hasn’t hooked me or I’d chosen a time to watch when I was unable to fully engage and the film could do with a second viewing. Or the film is shit. Saying that, I agree for most people a film has to tick all the personal boxes as to why we like it or not. Whether a film stays with you long after you’ve watched it. 2024 was a good year for film and documentaries alike. Like you say it’s a difficult one to choose favourites going all the way back to January but you’ve done a good job Cliff. My Favourites of 2024 in no particular order; All of Us Strangers Conclave Close Your Eyes Green Border Zone of Interest About Dry Grasses The Beast Crossing Do Not Expect Too Much from the End of the World Blackbird Blackbird Blackberry Anora His Three Daughters Memory The Outrun (I’m not sure if some of these released at the tail end of 2023 and there’s a fair few not on the list that I’m looking forward to seeing. I agree with your list of film disappointments. I do have a few I would add to that list!) Gary

The Settlers was a phenomenal and brutal film. The rawest depiction of the America's colonial-settler history. Superb review, you've got a subscriber in me!

Just watched the film and im glad i found your video here! Interesting movie at least, for 1986.

Hi Cliff. Glad you enjoyed the film. Not sure if you are aware from listening to your review but the film’s story is loosely based around Ruth Ellis, the last woman to be hanged in Britain. Miranda Richardson played her in the excellent Dance With A Stranger and you are about to get in the UK another TV adaptation, this one starring Lucy Boynton

Agree with every word you said. But why no appearance on your 2024 list, even as an honourable mention? Perhaps you will include it in 2025?! These lists are impossible, I know, but for some reason I can’t resist looking and loving it when my own choices are validated.

I hadn't heard of some of these. I'll have to give them a watch. Curious specifically about 'a different man'. Thanks Cliff!

-"Only the River Flows", there´s more Neo Noir from China, especially by Diao Yinan ("The Wild Goose Lake", 2019; "Black Coal, Thin Ice", 2014, winning the Golden Bear in Berlin; I also love his very fresh "Uniform" of 2003) -Thank you for claiming Nuri Bilge Ceylan, Levan Akin, Ryusuke Hamaguchi, Agnieszka Holland´s "Green Border" of course, "The Settlers", thank you especially for Bertrand Bonello´s "The Beast". -What I missed was Jacques Audiard´s "Emilia Pérez" - in my view the most important, the most radical, the most brilliant and beautiful film of the year (alongside, you´re right, "The Beast", close). It´s a new national anthem to a rebranded Mexico done by a Frenchman, and especially in Trump-times like these. Karla Sofía Gascón is magnificent, is huge in both of his/her roles and won as the first trans performer in Cannes as well as the European Film Award for Best Actress. The music is fantastic, often surprising as are the choreographies, breaking out of nowhere, splendid - Audiard achieved something Jacques Demy might have adored.

Really enjoyed listening to your opinions throughout the year. I haven't seen Black Dog and I need to see 'I saw the TV glow', 'The Beast' and 'Only the river flows' again as a second viewing might make me appreciate them more. My list is The Taste of Things. La Chimera. On Becoming a Guinea Fowl. Challengers. The Teacher's Lounge. About Dry Grasses. Small things like these. Green Border. Girls will be girls. Promised Land. Hoard. Cadejo Blanco.

Well and thoroughly argued. -"Blink Twice" - what about Michael Apted´s "Blink"? -Still courageous is your rebuttal of "Dune 2" and rightfully so, "underutilizes the actors", yes, "really weak narrative structure", yes, rushing to the conclusion, neglecting Paul´s development and ridiculizing Stillgar´s character, preferring to "work out" the female characters like Chani, instead... -Hirokazu Koreeda´s "Monster"? "Slow"? "Overly earnest"? Oh. One reason more to watch it on DVD. Yes, your "Western expectation", and the neglect to the "Rashomon" leaning script which, by the way, won one of the palms in Cannes. Score by the late Ryuichi Sakamoto. Are you familiar with Koreeda´s work? -"Queer"? With Apichatpong Weerasethakul´s DP?

The Substance and Only the river flows, the Teachers Lounge, the Settlers and the Delinquents 😊

Great review, sir. I’m in Canada and watched on Mubi, I haven’t seen much talk about it so wasn’t sure if it was released yet in UK. Likewise I’m a fan of Arnold (and would say Fish Tank is amongst my all time favorites). I don’t really like the term “magical realism” which I first heard after watching Love Lies Bleeding. But I do think the way Arnold used the fantastical to highlight the spiritual growth, connection and freedom of Bailey and Bird was inspired. She’s also extraordinary at choosing her filming locations. A fascinating film for sure

Enjoyed it but for me the script lacked drama. Apparently the Jude Law character was a composite, which is fine but why did the composite have to be so boring. Just so tired of the cliched burnt out law officer who drinks too much and loses their family. In every movie the partner either nags or leaves. Agree with you it didn’t feel very arthouse, except I loved the music score by the director’s brother, really upped the tension. But if Kurzel wasn’t going to be his edgy arty self, I probably would have preferred this as a documentary. Like all “based on a true story” movies it left me on Wikipaedia all night.

Justin Kurzel sitting between the chairs - as an Aussie in the US (get other Aussies like Peter Weir, John Hillcoat, Fred Schepisi, Phillip Noyce) like the Canadian Villeneuve, like the Taiwanese Ang Lee - -

From all the reviews it sounded to me like a 3 out of 5. For me a 3 out of 5 will never get me on a bus to a cinema, but I will watch it streaming or on tv. I’m so intrigued to know what Robbie Collin wrote but I think he is still behind the Times paywall, a price I will not pay. I love a scathing review sometimes. I’m still unsure why you hated A Quiet Place so much, but I did enjoy the review.

I felt the same way. This did feel like a monster film, with easy scares. Orlok is a monster from the first inatant, while in the previous versions he was more of an unpleasant old man, that becomes creepier with each passing moment. I also find that making the film "scarier" makes it lose part of its eerie or unsettling feeling

Revisiting my favourite films in 2024 via Cliff’s reviews. I enjoyed this one more than Cliff. As a single woman of a certain age myself I really related to Mahin, she is warm and funny and opinionated and irl am sure we would be friends. But Mahin is lonely and must contrive a quite desperate plan to meet someone of the opposite sex for it is not allowed to happen unsupervised in her society. Whereas all I need to do is join a club or go to the movies and I can speak to whomever I like. When her plan actually works it is like a fairy tale, but it is a fairytale taking place within a nightmare. The tonal shift at the end of the film IS the point of the film in my view. There can be no fairytales in this place. It made me think of my favourite horror film Under the Shadow by Iranian born Babak Ansari. The real horror is much worse than any supernatural demon. I must see both these films again.

Great review Cliff, so glad you’ve seen this. A child basically losing the only mother she knows because “she has responsibilities elsewhere” is always a heartbreaking tale, but as you say I found no sentimentality in the telling. Initially, I felt something was missing, because I didn’t experience the catharsis of Aftersun (I sobbed on and off for a week) but this film really lingered in my mind and as you say,it addresses so much more than loss. As a lapsed Catholic myself I felt it really had something to say about the concept of original sin. Cleo is not just a cute, innocent child, but she is infected by jealousy, disobedience and even self-hatred caused by the loss of love in her life. And the nanny is not sentimentalised either. I found her real love was reserved for her flesh and blood, even when they did not return her love as fully as Cleo. It is a much harder memoir than Aftersun. I actually loved the animations and felt they represented the almost formless thoughts and memories of a pre verbal child. For me they had the same function as the music in Aftersun which was attached to the memories of a much older child. In both cases, those were the parts where emotion really got to me.

Ditto on Florida Project. Ditto on Tangerine. I was really looking forward to this one, particularly as Mikey Madison is a charismatic presence in Once Upon a Time in Hollywood. However, I was not convinced to the extent that I did not enjoy it. The character of Anora has no more depth than the Julia Roberts character in Pretty Woman. Poor Anora has fallen for the fairy tale, in some way a perverted variation on the American Dream. But her representation is so shallow, I failed to care. The shrieking became boring and repetitive for me, and the lengthy sex scenes felt voyeuristic. Maybe it’s my age, but I think Mikey Madison should be sure to choose her next role carefully, perhaps a Jane Austen novel, or she may be typecast for life. She will win awards no doubt, but I am uncomfortable at what they are recognising in the performance. Meanwhile I loved Yuri Borisov who did an awful lot with very few lines of script. He may be my favourite ever Russian and I urge anyone who likes Cliff’s reviews to see Compartment No 6 (2021).

I will make an effort to see this film on a large screen if possible. I am grateful for your warning, I have to be in the right mood for slow meditative films. Mostly it means I need to pay greater attention rather than expecting a film to jump out and grab me.

Thank you Cliff for this review and so relieved you liked it as much as I did. When it made very little appearance in awards season, and particularly no nominations for Willa Fitzgerald, I thought perhaps I was overheated in my recommendation. However, now I am determined to see it again, will it work without the suspense? Only hope it can get another theatrical release soon.

Just finished watching this film. Great review.

Hugh Grant is great. Hope he can play more roles like this. But the second half is disappointing as you mentioned. The atmosphere and mystery is great in the first half.

“The destructive nature of love”: you have hit upon the overarching theme of all Guadagnino’s films from Suspiria to Challengers. The film reminded me most of Jim Jarmusch’s Only Lovers Left Alive and that is the one I would choose to watch again. I love the first hour of every Guadagnino film, love the way he creates a palpable atmosphere and he captures the best performances from his actors. But I have not yet found the one that stays with me. Call Me By Your Name comes closest and he deserves the credit for creating the cult of Chalamet.

So glad you didn’t care for this one so I can give it a miss despite liking Guadagnino’s style. I just have an aversion to the Beat Generation’s stories, having once devoured that literature. Eventually I found all their work empty, hyped, tiresome and misogynistic. There, I got that off my chest. I would probably love the soundtrack though.

Tell it like it is Mr C 😁 Although you've basically caned it - you've actually sold it to me - sometimes I like a style of substance film

It seems most people miss the point of the movie. The guy was never real, he was injected in her memories to fill her darkness, and she discovers in the end he's a robot..

I love both this film and "Opening Night" as they are more direct than other of Cassavetes films. I saw both the extended and recut version of "Chinese Bookie" and found the original too meandering and dull something which promised a film noir set up but didn't deliver on that premis. The shorter recut version was more plot driven and direct but then I found myself missing all the meandering of the original. My mistake, I guess, was not treating it as a character study rather than as a genre film. It came over as a "Long Good Friday" with all of the conflicts removed He is a difficult director as he is deliberatly seeking to portray life as it actually is and he often spends some 20 minutes on a set up that isn't particularly interesting simply because its a slice of life being worked out. I think thats why he wasn't appreciated back then.

So glad to find your channel. 🩵

I thought it was a bit too clever for it's own good. Not quite as smart as it thinks it is. Seemed like a fake overdone European art house attempt by the USA.

Hi Cliff. This film is great isn't it 😀. It is one of my favourite 24 films watched in 2024 (from a list of 225(!) films I watched this year). Willa Fitzgerald in particular is superb right up until her last appearance in the film (I'm avoiding giving spoilers here 👍). I also recently watched Kyle Gallner in 2020's Dinner in America, in which he is equally excellent but also feels quite different. I recommend that one.