I must concede at this point that though I still go to as many films, I cannot necessarily work up the enthusiasm to post full reviews of all of them. Some may be good and others may be disappointing, but for whatever reason there’s nothing that grabs me and makes me want to write them up at length. Therefore I present below some short reviews of some recent releases.
Under the Skin  || Director Jonathan Glazer | Writers Walter Campbell and Jonathan Glazer (based on the novel by Michael Faber) | Cinematographer Daniel Landin | Starring Scarlett Johansson | Length 107 minutes | Seen at Cineworld Haymarket, London, Wednesday 19 March 2014 || My Rating very good
I relish how strange watching this film must be to mainstream cineplex cinemagoers, because it’s the kind of strange and uncompromising object you usually only get at festivals. It’s had a decent release (at least over here in the UK) on the strength of its marquee name star and the interesting work of its director Jonathan Glazer — some notable music videos and two feature films, including Sexy Beast (which coasted in on the crest of the trend for geezerish British gangster films, but managed to stand out from that fairly bland crowd by virtue of its excellent performances). And yet it’s got such an odd sensibility. For a start, Scarlett Johansson is the only really recognisable presence in the film; the rest of the cast is made up of local extras and a few small, fleeting roles. Its style, too, is laconic — not just in the paucity of dialogue, but in its reluctance to reveal much of anything. It’s not a flashy film, and it can seem quite slow at times, but it at least seems very clear about what it’s doing. Stylistically, it starts strikingly with a series of close-up images that are hard to make out, but suggest something smooth and machine-like and, as it turns out, otherworldly. Once the first humans appear, images and faces loom out of the Stygian darkness, and there’s a bleak, dreich Scottish overcast to everything: this is not a film that makes Scotland look like a tourist destination, but the film finds a certain groundedness in the elemental forces of nature. Partly that’s a balance to its protagonist’s apparently alien origins, and the harvesting of human victims (for this is at heart a horror story) is presented as oddly theatrical, Johansson luring them by undressing into a black room, where they sink into an oily murk. The drama comes as she starts to have reservations about her mission, though nothing is so overtly stated in the laconic script. As I said at the outset, it’s quite unlike very much else out there, and if for that reason alone, is worth watching, although it exerts an oneiric, uncanny hold over the viewer at times.