Ando Sakura as Shibata Nobuyo, Jyo Kairi as Shibita Shota and Lily Franky as Shibata Osamu in Shoplifters
Shoplifters once again demonstrates writer/director Hirokazu Koreeda’s ability to deliver a warm and leisurely character-driven drama where class and the family unit are gently critiqued without any trace of heavy handedness. The story of a family of petty thieves who take in a young neglected girl to care for as one of their own contains plenty of drama and heartbreak, but it is the sense of humanism and compassion that lingers long after viewing the film that makes it yet another triumph for Koreeda.
Sissy Spacek as Jewel and Robert Redford as Forrest Tucker in The Old Man & the Gun
It’s hard to ignore that The Old Man & the Gun is reportedly Robert Redford’s final outing as an actor, as the entire film feels like a homage to his onscreen persona, legacy and the New Hollywood era that helped define him. It’s a fun, sweet and good-natured based-on-a-true story about an elderly gentleman bank robber who finds love. It delivers a loving throwback to the era of counter-culture Hollywood films that celebrated charismatic anti-heroes, where cynicism sat comfortably with star-power charm.
Charlie Plummer as Charley in Lean on Pete
Lean on Pete is on the surface a story about a teenage boy bonding with a horse as a response to parental absence, a common theme in films for and about adolescents. In the hands of the masterful British writer/director Andrew Haigh the film is free from sentiment or obvious plot development, and is a sophisticated and subtle character study about the loneliness and quiet despair of a young person in a desperate situation. It’s a slow burn yet mesmerising film that I haven’t stopped thinking about.
Michael Moore in Fahrenheit 11/9
Fahrenheit 11/9 contains a lot less of the levity and stunts that have characterised Michael Moore’s previous works, as it is a much more urgent and angry film. Moore may not present heaps of new information or analysis, but he skilfully and persuasively consolidates a lot of the almost overwhelming details about how Donald Trump’s presidency is both the symptom and cause of the erosion of democracy in the USA. There are some elements of hope, but this is mostly an engaging call-to-arms.
Emma Thompson as Fiona Maye in The Children Act
The main reason to see The Children Act is for Emma Thompson as a British High Court judge contending with her marriage falling apart while she is in the spotlight presiding over a case involving a 17-year-old Jehovah’s Witnesses boy refusing a life-saving blood transfusion. Thompson’s incredible performance aside, this is still a compelling and moving film with a thematically rich script that offers a lot for the audience to unpack without feeling didactic.
Posted by Thomas Caldwell 
While many of Moore’s stunts, like trying to go into the head offices of the major banks to reclaim bailout money and make citizen’s arrests, often feel a bit mild there is still much to admire about Capitalism: A Love Story. Moore very cleverly enlists the support of various religious leaders, one of whom describes capitalism as ‘radical evil’ that goes against everything Jesus stood for. Moore largely avoids using the dreaded S-word although he does wickedly point out that the current widespread misuse of the word ‘socialism’ has resulted in a new generation who are curious about finding out what socialism actually stands for. However, the most impressive aspect of Capitalism: A Love Story is that Moore demonstrates actual workable alternatives to the system in the form of various co-operative workplaces and successful acts of civil disobedience. There’s hope in this film but there is also a call to arms and Moore’s impatience with the status quo rings out loudly as he parts by telling us, “I refuse to live in a country like this. And I’m not leaving.”
