February 27th
The Invisible Man
Motherless Brooklyn
Miss Fisher and the Crypt of Tears
The Professor and the Madman

Two stand-out films release this week, plus two that get a generous "maybe" from me. I always note with interest the divergent critical opinions on certain films. As I always say - you be the judge!

The Invisible Man
Director: Leigh Whannell 
Length: 129 mins

© Universal - a  thrilling film that successfully scared me
out of my wits 

The first film version of this book, based on an HG Wells sci-fi novel, was in 1933. This latest remake takes an inspired modern twist, putting it squarely in the #metoo age, with the main female character being a victim of an abusive husband. Cecilia (Elisabeth Moss), escapes from her controlling husband Adrian Griffin (Oliver Jackson Cohen), a renowned genius is the field of optics. She is helped by her sister Emily (Harriet Syer), and friend James (Aldis Hodge), a policeman. But can she really ever escape the clutches of her abusive ex? For me, a good scary film is all about what you cannot see, and this one, obviously, has that element in spades. Whannell is a genius with his camera angles and subtle sounds and movements - enough to terrify the wits out of me. When Cecilia becomes certain she is being stalked by someone she cannot see, but no-one else believes her, her sanity is put into question, which provides another powerful element of a strong horror tale. Moss, iconic star of the Handmaid's Tale, is terrific, as is the entire cast. There's a goodly dose of gore and violence towards the end, and the film's denouement ventures squarely into the typical American style of hunt/chase/kill, but overall it is a stand-out thrilling, chilling tale. It even presents a credible scientific premise to invisibility (maybe), while the taut twists at the end keep one on the edge of the seat till the final scene. I loved it!
4 - highly recommended!

Motherless Brooklyn
Director: Edward Norton
Length: 146 mins

© Roadshow - noir detectives, racial discrimination,
murder and mystery - and an unforgettable
lead character. 

New York in the 1950s: Lionel Essrog (Edward Norton) suffers from Tourettes and OCD, but has a brain like a steel-trap for remembering detail. He works for a rundown detective agency in New York. When his boss Frank Minna (Bruce Willis) is killed, Lionel determines to track down who did it and why. His search leads him to property developer Moses Randolph (Alec Baldwin), and to Laura (Gugu Mbatha-Raw), who is protesting the demolition of Brooklyn community housing, and whose relatives run an atmospheric jazz nightclub. Based on a 1990s novel, but reimagined as a noirish "gumshoe" detective story, this is a tour-de-force for Norton, (co-writer, director and star!) whose tic-driven character is mesmerising. Mbatha-Raw is magnetic in an intelligently written female role, while Willem Dafoe and Bobby Carnevale add to a top-notch cast. Every small role is equally compelling and 100% credible. The themes of big business, power, corruption, greed, politics and disregard for vulnerable groups are as relevant today as then. The period is gloriously recreated, with cars, costume, lighting and camera angles spot-on. Add in a brilliant, evocative soundtrack of jazz (some of it as live performances), and you have a film that is already one of my top so far this year.
4.5 - wholeheartedly recommended!
(Since some churlish critics seem down on it, I recommend you to this longer piece which totally expresses my feeling for this film: https://www.filmink.com.au/reviews/motherless-brooklyn/ 

Miss Fisher and the Crypt of Tears
Director: Tony Tilse
Length: 101 mins

© Roadshow - a stunning-looking film that 

misses the mark for me

Melbourne Detective Miss Phryne Fisher (Essie Davis) is in Jerusalem in 1929 to rescue a young Bedouin girl Shirin (Isabella Yena) who has been falsely imprisoned. From there she goes on to unravel a desert mystery, involving emeralds, curses, and the disappearances of Shirin's tribe. Full disclosure: I've never watched the TV series, yet I'm told it's a monumental hit with its world-wide die-hard fans, who have contributed almost $1 million in kickstarter money to help the film get made. Maybe my ignorance colours my view of the film. Respected colleagues tell me it is a spoof; I got no sense of that at all. To me it's a derivative take on an Indiana Jones style adventure mystery, with a plot nowhere near as good and confusing to follow, made worse by wooden scripting and dialogue. Good points however must be noted - the production is a triumph - it looks glorious in crisp vibrant colour, Phryne's costumes are eye-catching, and the camels and desert scenes steal the show. Nathan Page as Phryne's repressed love interest Detective Jack Robinson, and Rupert Penry Jones as a London cop hanging about in British-mandated Palestine both come over as bland, while the "action" is twee, contrived, and has little momentum.  Probably the less said from me the better; it's possible I've entirely missed the point, so two possible ratings:
2 - you've got better things to do with your time!
3.5 - Phryne fans should definitely go see it!

The Professor and the Madman
Director: Farhad Safinia
Length: 125 mins

© Transmission - an unlikely friendship results
from a monumental task

Prof James Murray (Mel Gibson) takes on the daunting task of compiling the most comprehensive dictionary ever. He co-opts volunteer contributors from all over the world. Dr Minor (Sean Penn), contributes thousands of words, but when it comes time for acknowledgments it seems the Doc is a murderer incarcerated in a lunatic asylum. (He's suffering schizophrenia, induced by his experiences in the US Civil War.) A friendship between the men develops, along with a questionable romance between the widow Merrett (Natalie Dormer), whose husband Minor accidentally murdered. Based upon the true story of the compiling of the Oxford Dictionary in 1857, this (possibly) fascinating tale makes for less than fascinating viewing.  Yes, there are interesting snippets about language and the origins of words, and the overall story has potential, but it may be just too hard to bring such a literary feat into the visual realm of gripping cinema. Sean Penn is impressive (is it overacting, or the credible embodiment of lunacy?) but Gibson's Scottish lilt borders upon incomprehensible. However, production values are terrific, as is cinematography, and the insight into the vile treatment of the mentally ill is probably a high point of the film. Eddie Marsan, Jennifer Ehle, Stephen Dillane and Steve Coogan are notable additions to the cast, but overall for me the film fails to soar.
2.5 - maybe!