Adrien Brody’s performance in The Brutalist is nothing less than incredible
THE BRUTALIST (18), 215mins ????? IT’S always an issue during a very long film – when to get up to go to the loo. What are you going to interrupt while forcing people in your row to stand up and, m…
(18), 215mins
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Adrien Brody’s Oscar-tipped performance is nothing less than incredibleCredit: AP
IT’S always an issue during a very long film – when to get up to go to the loo.
What are you going to interrupt while forcing people in your row to stand up and, more importantly, what are you going to miss?
There certainly isn’t a moment of Adrien Brody’s Oscar-tipped performance in The Brutalist that is anything less than incredible.
Thankfully, director Brady Corbet has insisted his three-and-a-half-hour drama, about a Holocaust survivor trying to revive his architecture career in America, comes with a 15-minute intermission.
That way you’ll catch all the intensity of, variously, Brody’s tear-stained joy, confused frustration and raging temper.
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The film starts with his character Laszlo Toth seeing New York’s Statue of Liberty for the first time after arriving on a boat with Jewish immigrants following the end of World War Two.
With barely a dime to his name, the Hungarian must find his way in Pennsylvania, where a relative gives him a job in a furniture store.
His fortunes appear to change when he gets the opportunity to work for wealthy industrialist Harrison Van Buren, played by Guy Pearce.
It is the personality clash between the two men that drives most of the story.
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Pearce is brilliant as Van Buren, a cold, calculating man who likes to portray himself as being generous and cultured, even though he’s obsessed with money.
Laszlo, on the other hand, lets his emotions get the better of him and puts his “brutalist” concrete aesthetic ahead of any financial considerations.
Both are deeply flawed characters, with Laszlo injecting hard drugs, sleeping with prostitutes and watching porn — hence the 18 certificate.
In the second half of the film, Laszlo is joined by his wife Erzsebet (Felicity Jones), which adds even more passion to the story.
Jones is a great actress, but if I have one gripe about the movie, it’s that the Brummie-born star’s Eastern European accent isn’t up to that of Brody, whose mother was born in Hungary.
Nothing, though, can diminish the epic sweep of The Brutalist, which is about far more than architecture or anti-semitism.
Even among the despair, there are enough uplifting moments to remind us that the world can be more beautiful than brutal.
(15), 91mins
★★☆☆☆
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Michelle Dockery does a decent job, but Wahlberg spends most of his time yee-hawingCredit: PA
MEL GIBSON is one of the three stars picked by Donald Trump to “save Hollywood.”
But on the evidence of the actor’s latest directorial effort, there is little chance of cinema being made great again.
In Flight Risk, Downton Abbey’s Michelle Dockery is US Marshal Madelyn Harris, who is tasked with transporting Topher Grace’s informant Winston to custody.
But Winston’s gangster boss will do anything to make sure the star witness does not give evidence against him.
And pretty much all the drama takes place on a flight on a rickety plane from remote Alaska to the state’s main city, Anchorage.
The perilous challenges the marshal faces include Mark Wahlberg’s wild-eyed pilot, and snowy mountains.
The new US President, who reportedly fast-forwards through the dialogue in Jean-Claude Van Damme films to get to the action, will probably love Flight Risk.
There’s a few punch-ups amid the wise cracks you’d wish to skip over, and Dockery does a decent job, but Wahlberg spends most of his time yee-hawing, “I’m going to enjoy this.”
I hope he did, because I certainly didn’t.
By Dulcie Pearce
(15), 85mins
★★★☆☆
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Presence won’t linger once you’ve left the cinemaCredit: PA
STEVEN SODERBERGH retired over a decade ago, but the director is back in business – just as I suspect boxer Tyson Fury will be in the near future.
The Ocean’s director has two movies out this year, starting with the low-fi “horror” movie Presence.
It starts off in typical fashion, with a family moving into an empty, old home.
Lucy Liu plays tiger mum Rebekah, whose focus is on making her son Tyler into a swimming star rather than her grieving daughter Chloe, whose best friend died after taking drugs.
Chloe feels a “presence” in her bedroom.
An invisible force starts off nicely enough by tidying up Chloe’s books, but then develops a temper when things go awry.
I put the word horror in quotation marks because this poltergeist is unlikely to give you nightmares. There is no blood or gore and it’s more of a psychological drama with a couple of neat twists and turns.
When the script does turn scary, Soderbergh fails to draw out the tension and we don’t spend enough time getting to know the family to be gripped by their fate.
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As a result, Presence won’t linger once you’ve left the cinema.
By Dulcie Pearce