An unassuming tailor finds himself caught in a war between rival mobsters. Deliberately stagey crime drama seemingly based on the pun in the title, with the kinds of twists one might expect: anchored by an immaculate Mark Rylance performance. Not especially filmic, but enjoyable on its own terms.
An ambitious woman marries into a struggling fashion house. Loosely based on real events, this lacks narrative drive but is pleasant enough if one focuses on production design and on performances ranging from vivid to camp. It wants to be both The Godfather and The Wolf of Wall Street but falls between the two.
A former rodeo rider goes to Mexico to find his boss’s son. Minor road movie variant on Eastwood’s ongoing exploration of masculinity and aging. The star is the weak link, being two decades too old for the clunky script. That said, it looks and sounds great, and there’s pleasures along the well-worn way.
A desert planet with a fabled resource is given new custodians: a messiah figure may be among them. Impressive if slightly po-faced partial adaptation (Part Two is to come) of the Frank Herbert allegorical SF classic. Takes its time: the pacing is televisual rather than cinematic. However, it looks great, and a good cast plays to their strengths.
1906. A farmer finds a wounded man and takes him in, hiding him from the team that’s hunting him. Excellent early 20th century Western, which manages to do a lot with modest resources and clear intent. Plenty to appreciate, not least Tim Blake Nelson in the lead.
A wife helps her husband escape jail: a chase and media circus develops as they cross Texas to be reunited with their child. Excellent road movie/crime drama hybrid with comic and bittersweet touches, and full of directorial promise. Loads to recommend here.
A young pool shark struggles to find himself in the world. Still-effective if slightly stagey drama from the Walter Tevis novel, balancing a faltering love story (perhaps too prominent in the mix) with pool hall and backroom dive bar action. Looks great, and the performances are fun throughout, not least George C Scott’s sly fixer. A sequel followed a generation later.
A boy being raised by an abusive brother conjures a witch. Patchily-effective horror that doesn’t quite pull together its supernatural and abuse drama strands. Nevertheless, it looks good, maximises its resources, and has an effective central child performance. Plus the great Dan Hedaya pops up in support.
Rival speculators seek to profit from the maiden voyage of an oceangoing liner. Propagandist German WWII version, seeking to link English greed to their hubristic war efforts. Interesting in its influence on later versions in approach and some plot details, and a handsome – if clunky – production in its own right.
A troubled lifer gets a new cellmate and an unexpected family contact. Claustrophobic prison drama – almost entirely set in a single cell – working well to maximise star Fairbrass’s trademark physicality. A touch long and repetitive maybe, but impressive and well-sustained nevertheless.