Film Review | The Two Popes (2019)

the two popes jonathan pryce anthony hopkins benedict francis netflix review anthony mccarten fernando meirelles

In its weakest moments, The Two Popes treats Benedict as an aberration, an interruption that needed to be corrected by Francis – at times, the affection felt towards the current Bishop of Rome risks tending towards the hagiographic.

And yet The Two Popes clearly aspires to a more complicated narrative. Central to this story are the sexual abuse cases that came to light towards the end of Benedict’s papacy. It’s a fraught subject, and The Two Popes is necessarily precise in approach – the careful levity of McCarten’s script is easy to appreciate, conscious in how it threads the needle between this and its otherwise gentle humour, never quite polemic or farce.

I am really, really pleased with this review. It’s been a long time since I’ve been able to bring myself to write something properly, for a myriad of boring reasons, but here I really managed to break that writer’s block. Lots of half-completed drafts cluttering up my desktop at the moment, but this, thankfully, is not one of them.

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Film Review | The Nightingale (2019)

the nightingale aisling francoisi sam claflin jennifer kent review alex moreland

Kent lingers on the violence, lingers on assault, lingers on the casual, visceral nature of this world; the camera holds its gaze far longer than one can bear, deliberately unsettling audiences and challenging them not to look away. Indeed, The Nightingale is designed for the cinema experience – being able to look away from the laptop screen and check Twitter defeats the point of Kent’s unrelenting direction, however necessary it might sometimes feel.

Here’s my review of The Nightingale, accompanying my recent interview with its two lead actors.

It’s an interesting film, The Nightingale – as I remark in the review, it’s a movie that’s far easier to respect than to like. There’s a lot about it that’s hugely, hugely impressive: not just Jennifer Kent’s direction, but also the performances of Aisling Francoisi and Sam Claflin. (And indeed of Baykali Ganambarr – I’m a little annoyed with myself I didn’t find the space to mention to his performance in the review itself, it’s quite a notable omission.)

I wasn’t especially fond of it when I first watched it; my appreciation of it has grown since then, though, the more I’ve thought about it. It’s definitely a film that benefits from deeper thought and consideration – certainly, had I reviewed it closer to when I watched the film, I’d have likely written about it more critically than I ultimately did. Admittedly I’m not super pleased with the review itself: I think perhaps I could’ve done a stronger piece of writing about the film than I actually did, particularly in the second half of the review.

Still, though. Pretty pleased with that segment I quoted above. Good set of sentences, that.

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