Harvey (1950): review: 7.5/10

 *

A man has a invisible rabbit as a friend, perplexing and embarrassing his family. He is committed to an asylum.

The film seems to me to be mainly about finding connection, and the primacy of the imagination.

Harvey, thanks in good part to James Stewart, has considerable charm. and still perplexes, the bar scene being especially likable. 

However, it has dated considerably, so the screwball set pieces no longer really work- social conventions having undergone too many changes since the 50s. In addition, the film lacks sufficient overall plotting not to dawdle.

Nice Ladies (2024): review 1.5/10

 *

Documentary film tracing the experiences of elderly Ukrainian women who become cheerleaders, before their troupe finds itself dispersed following the Russian invasion.

There is not enough material here to justify a film of this length. We are presented footage of women checking their cell-phones and having banal conversations with family members along with some interviews and scenes from their performances at sports events. Who cares?

a. The basic idea: isn`t it interesting how some older Ukrainian women decide to become cheerleaders! is not in fact very interesting.

b. The people in the film have nothing interesting to say.

b. The amount of good footage here might justify a film of up to about 15 minutes in length, if that.

I`m giving the film 1.5 because I am in a good mood, and feel well-disposed to Ukrainian causes. But when I left the cinema I felt like drowning myself.

Raging Bull (1980): review: 10/10

 *

The story of Jake LaMotta, boxer, then nightclub owner and stand up comedian.

The film describes the Italian community in New York, its tastes and social structures. It presents the individuals and commercial systems supporting  LaMotta`s rise, as well as his jealousy, inclination to domestic violence, courage, determination and self-pity.

Startling performances wonderfully shot in black and white throughout, maintaining sympathy for the lead: somehow one cannot not dismiss LaMotta despite his huge lapses in character.

Father Mother Sister Brother (2025): review: 8/10

 *

Three films, inter-related, by Jim Jarmusch, set in a country town in the USA, in Dublin and Paris, and featuring Tom Waits, Adam Driver and Cate Blanchett among others. 

The film concern relationships, small deceits, hypocrisies, and dishonesty across generations. All feature cars as visual devices, homes in states of dilapidation, as upper-middle class showcases or for sale.

The least satisfactory of these is Father, featuring Tom Waits and Adam Driver: unsatisfactory because of the clumsy performances both from Waits and Driver. Waits really is a dreadful ham.

The film suggests, with the Paris section, that only with the death  of their parents, can children live freely from a parental web of half-truths.

The film is beautifully shot.

Coastal (2024): review 2/10

 *

Documentary following Neil Young on tour.

He sits on a bus, as do members of his crew, and some of whom give interviews which are of no interest whatsoever. 

There is some likeable concert footage. Young`s songs are very good, of course. It is in black and white (oh so arty).

Uninspired and lazy film, for fans only. I give 2/10 because I am a fan, and can`t bear to accept that anything with Neil Young  it should deserve less.

I Swear (2025): review 8/ 10

 *

The life and career of a Scottish man who suffers from Tourette`s Syndrome, then seeks to promote better understanding of the condition and help others.

The film describes Scottish provincial and working class life, containing scenes which are in turns, disturbing, sad, and reassuring. It is occasionally funny, unsentimental and even disturbing in places.

It`s freshness of style is, thankfully, free of amateurishness of naivety.

Winners (2022): review: 2/10

 *

Iranian/British (Scottish) film  about recovering a lost Oscar statue near a dump and scrap merchants.

The film meanders, losing focus: boring. The child actors, as is typical, are tiresome. The characters have no relationships. It is impossible to care abut them or their dilemmas. 

Through sentimental devices the film attempts to be a celebration of cinema, but this is merely irksome.

The landscapes, however, are enjoyable to see, and for this the film gets a 2 stars.

 Reviewers often give these flabby, overlong Iranian films a free pass, and f you look online it is very generously treated. If it were a Hollywood film it would be ripped to shreds, or not reviewed at all.