Paola Cortellesi directs herself, Valerio Mastandrea and Romana Maggiora Vergano in this period comedy drama following a beaten wife’s efforts towards a better life in post-war Italy.

When a flick is marketed as the movie that beat Barbie at its domestic box office… well… that sets these alarm bells ringing. You only have to have to tap out after watching a few of the homegrown billion dollar behemoths that dominate the People’s Republic Of China to know nationalistic popular cinema ain’t nothing to crow about. To pick an example closer to this: Italy’s Life Is Beautiful was a monstrosity of cloying mawk and silly tragedy that the world seemed blindsided by only 25 years ago. And there is some shared DNA with that beloved clusterfuck here. There’s Still Tomorrow even has a Chaplin inspired physical grace to its violence that seems like a bold choice. Should they show the bruises rather than soften the punches? Is the “hip” 21st century jukebox soundtrack a smart decision? Or does it imbue moments with strength and defiance not yet obvious in our protagonist’s actions? All the way through I was uncertain. The lush monochrome cinematography and Cortellesi’s nuanced and iconic central turn overrides my doubts. And the twist finale happens and I left with a smile on my face. Pleased the rocky road had led to the “correct” message of hope. It won me over fully in the closing moments. There were a few times throughout the story when the bigger picture was glimpsed in the background and it revealed itself in a perfect way.

7

Perfect Double Bill: The Basilisks (1963)

I write regular features about live comedy for British Comedy Guide here https://www.comedy.co.uk/people/bobby_carroll/features/

Viggo Mortensen directs Vicky Krieps, Solly McLeod and himself in this dramatic western exploring the interrupted relationship between two immigrants in the frontier after war, duty and vengeance separate them.

Most Hollywood westerns, as much as I love them, ignore the fact that the white people who carved out dominion of the Americas would not all sound like they were born and bred in Texas. Focus is often on the lawlessness rather than the culture. The incongruously bright fabrics in the dusty wilderness, the sharing of books, the birth of commerce, the masculine world with traces of a future home embedded within them like fortune cookie notes. This tender tough romance with rifles redresses the balance. The location and ensemble are spot on. The scale is both intimate and expansive, near fantastical in moments. An award worthy central performance by Krieps anchors all the ambition. Slow but more than worth your time.

7

Perfect Double Bill: Meek’s Cutoff (2010)

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Adil & Bilall directs Will Smith, Martin Lawrence and Joe Pantoliano in this buddy cop quadrel where the Bad Boys are framed and on the run.

Very much the Lethal Weapon 4 of the series. Legacy character overload and very little narrative propulsion. Just a series of goofy sequences strung together. The camera abuse is off the chain. Martin Lawrence puts in his best ever shift and I actually laughed at Marcus’ insanity this time around. Shame that as good as the action often is there are only three set pieces with our actual heroes. The helicopter spiral sequence is a modern wonder of celluloid carnage though, recalling the excesses of the Bay-hem in Bad Boys II.

6

Perfect Double Bill: Bad Boys For Life (2020)

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Michael Mann directs Chris Hemsworth, Tang Wei and Viola Davis in this globe trotting hacker hunt thriller.

Left me cold at the cinema on release but worked just fine the second time on the small screen. A slick, sparse process movie that reminds me of a cooler version of all the cyber security training videos I have to watch at work once a month. There’s a blankness to the acting, a brutalism to the landscapes. When action ignites it has the punch and the edge that only Mann can deliver. The exotic romanticism and seductive capabilities of Miami Vice are leant into even harder here by one of my favourite auteurs.

7

Perfect Double Bill: Swordfish (2001)

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James Foley directs Chris O’Donnell, Gene Hackman and Faye Dunaway in this John Grisham adaptation where a rookie lawyer tries to appeal his long lost racist grandpappy’s death row conviction.

I’m not sure if there is a better film here but Chris O’Donnell doesn’t help. The nadir / zenith pulls of his and Hackman’s casting isn’t sustainable for a serious drama. As a thriller, the mild peril seems particularly forced. A more worthy movie might explore racism, anti-death penalty politics and generational trauma of past violence. This just pays lip service to those weighty issues. For example, here is a film where the main character is a KKK lifelong ultra and there are less racial slurs than The Nutty Professor remake. Prestige trash. Forgotten but not unwatchable.

5

Perfect Double Bill: Runaway Jury (2003)

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Alfred Hitchcock directs Ingrid Bergman, Joseph Cotten and Michael Wilding in this gothic melodrama set amongst the Irish well-to-do in colonial Australia which drudges up their dark pasts.

Hitch mucks around with his stalking long takes but forgets to tighten up the drama. Very stodgy. Though Margaret Leighton as a conniving housemaid has the goods. She’s no Mrs Danvers but better than this bloated pap deserves.

4

Perfect Double Bill: Spellbound (1945)

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James Mangold directs Winona Ryder, Angelina Jolie and Whoopi Goldberg in this true story about a young women sent to an asylum in the Sixties.

A perfect deep cut cast but it never really firms up into the film it wants to be. I know people love it but I merely find it OK. OK to the point where I’m not even sure what to write about it.

6

Perfect Double Bill: Boys (1996)

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Phillip Noyce directs Denzel Washington, Angelina Jolie and Queen Latifah in this serial killer procedural where a bed ridden crime scene expert guides a rookie through a new case.

Made very much to give star-in-the-making Jolie her own Silence of The Lambs / Se7en. Washington is way too exciting an actor to relegate to a trapped mentor role. Goes through the motions with little memorable flair. Still, I’m surprised this sepia toned nasty never got a sequel?

5

Perfect Double Bill: Salt (2010)

I write regular features about live comedy for British Comedy Guide here https://www.comedy.co.uk/people/bobby_carroll/features/

Yeon Sang-ho directs Gang Dong-won, Lee Jung-hyun and Kwon Hae-hyo in this Korean post-apocalyptic zombie thriller chase flick.

OK… so… the over reliance on CGI during the vehicular mayhem demolition derby sequences isn’t to my tastes. I’m going to give any movie that aims for a Fury Road meets Dawn Of The Dead meets Escape From New York mash-up a pass. There are a few genuinely loony set-pieces here that make this spin-off slam bang entertainment overall. Especially “the game”. Once you’ve seen the movie, you’ll know what “the game” is… and you’ll agree.

7

Perfect Double Bill: Train To Busan (2016)

I write regular features about live comedy for British Comedy Guide here https://www.comedy.co.uk/people/bobby_carroll/features/

John Lee Hancock directs Donald Sutherland, Jaeden Martell and Joe Tippett in this Stephen King fable about a boy, a local retired tycoon and their new Iphones.

More of a chiller than a horror. The first hour of set-up is kinda brilliant. Then it just putters out to a predictable meh. The kid who plays the school bully brings a true sense of intimidation to his small part.

7

Perfect Double Bill: Hearts In Atlantis (2001)

I write regular features about live comedy for British Comedy Guide here https://www.comedy.co.uk/people/bobby_carroll/features/