While watching The Killing of a Sacred Deer I found myself trying to identify the deeper meaning behind its stylised acting, clinical visual style, and themes of hubris and revenge (taken from the classical Greek myth of Iphigenia). It wasn’t until afterwards that I realised the brilliance of Yorgos Lanthimos’s film was simply that it made me consistently laugh, often without exactly knowing why. While not quite as rich as his previous film The Lobster, this is still a remarkable achievement in its ability to play it straight and still present darker than dark material in a way that is perversely comedic.
As the final film for beloved actor Harry Dean Stanton – and one of his very few leading roles – Lucky could not be more perfect. Playing an ageing, chain-smoking and reclusive old man who is musing on death and dying, Lucky is not exactly a stretch for Stanton and yet he still looses himself in the part with his distinctive understated charm. Lucky embodies the spirit of so many of the classic American films that Stanton appeared in over the decades in terms of setting, supporting cast and themes, resulting in something fittingly familiar. It’s a lovely farewell.
Goodbye Christopher Robin comes with many of the standard characteristics of a conventional biopic in telling the story of how A A Milne came to create the much-loved Winnie-the-Pooh stories. However, what sets the film apart is not just its avoidance of whimsy and sentimentality (for the most part), but its thematic complexities. Milne’s PTSD and at times difficult relationship with his family are explored, as are the issues surrounding the way he used his son’s childhood to create the much-loved stories and by doing so turned his son into a reluctant celebrity.
Like so many, I had an incredible time when I saw the 2003 so-bad-it’s-good cult film The Room. The Disaster Artist depicts how writer/director/producer/actor Tommy Wiseau teamed up with struggling actor Greg Sestero to make The Room and while so much of what happens is hilarious, the film still acknowledges Wiseau’s pain, passion and triumph of sorts. Wiseau is not nearly as sympathetic a character as Ed Wood, the 1950s B-grade filmmaker who is the subject of the 1994 film Ed Wood, but The Disaster Artist does share some of that film’s affection for its respective delusional misfit filmmaker.
Thomas Caldwell, 2017